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The article discusses the works of 20th century French painter Suzanne Duchamp. Topics include contribution of Duchamp and her husband Jean Crotti to form a movement they called Tabu, an offshoot of Dada that was intended to be comparatively more life-affirming and spiritually uplifting; Duchamp's painting "Ariette d'oubli de la chapelle étourdie" using oil, wood, and glass eye on canvas; and "Study for a Self-Portrait" using ink on paper.

The article highlights the work and life of Marcel Duchamp, who was a French-American painter, sculptor, chess player and writer whose work is associated with Cubism, conceptual art, and Dada. It mentions that Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting.

In the early 1990s Hans Belting's Likeness and Presence initiated a consideration of the history of medieval art "in the era before art." This book attempted to reconsider the binaries between the beautiful and the functional, the aesthetic and the cult image. These investigations, however, relied on beauty and neo-Kantian aesthetics to define art, circumventing the contemporary history of art and its discourses. While arguing for the validity of "non-art" as an object of investigation, I posit that this scholarship reified the very modernist myths from which it sought to distance itself by accepting such paradigms. In medieval studies, the years following—until now—have seen research into sensual experience, moving from the focus on visuality in the early 2000s to the present's concern with the soundscape. Parallel to this trend is a growing neoformalism, a return to the alleged fundamentals of paleography, style, and iconography. While seeming to be wholly opposite projects, I contend that these threads evidence a concerted return to modernity's bureaucratization of the senses and a faith in the transcendental signifier. [ABSTRACT FROM AUTHOR]

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Duchamp's late reception and the indiscriminate appropriation of his terms 'indifferent' and 'anaesthesia', used to describe his frame of mind at the time he found the ready-mades, have lent his work something of the flavour of the art movements of the sixties and seventies. Although the last twenty year- have seen the growth of a rich body of art historical literature, with a whole spectrum of references to the different areas of art and science - the extensive study Duchamp in Context by Linda Dalrymple Henderson being the most recent monumental survey - both admirers and opponents still acknowledge Duchamp's iconoclasm. To form an accurate picture of Duchamp the artist after 1912, it is important to grasp the meaning of 'indifferent', a word then used to describe the pose of a dandy, notably his nonchalant swagger in the presence of women. 'Indifferent' is also a term from the schoolbooks of Duchamp's childhood, where it denoted a kind of balance, neither stable nor instable; the example given was that of a wheel revolving around an axis. 'Indifferent' occurs together with 'anaesthesia' in a study of the comic by the philosopher Bergson. When referring to Bergson, Duchamp does so not as a cubist, but as a humorist. No doubt Bergson's portrayal of a man in the process of tripping ('Un homme trebuche et tombe') led to Duchamp's ready-made Trebuchet, which may be seen as a continuation of the comic drawings he did up until 1910. He associated this humoristic side of his work with the well-known literary examples Roussel and Laforgue. Thus the bicycle wheel on a stool (une roue sur une selle) can be read as an homage to Roussel. And the initial notes for Duchamp's The Large Glass, may have been inspired by Apollinaire's poem Zone, written during a week in the Jura in October 1912 and containing a passage on Christ ascending like an airplane over a group of devils. The ready-made Hérisson is also related to that trip to the Jura. Seized upon with a Rousselian eye, on the basis of the similar name of a waterfall in five passages, then a popular destination for excursions in the Jura, it reminded Duchamp of his Dulcinea, Gabrielle Buffet, who served as guide. Some works took shape on the December journeys to see his family in Rouen in an 'a la recherche du temps perdu' mood. Pharmacie may be a nostalgic look back at Duchamp's younger years in Blainville, near the village of Ry, scene of the tragic loves of Madame Bovary. In Flaubert's book, the village is typified by the pharmacy of Homais, portrayed as an alchemist. In a note associating him with Pharmacie, Duchamp, in turn, depicts his friend Dumouchel as an alchemist. The flywheel with the Benedictine bottles, which was initially intended to drive the mill wheel, goes back to a family visit to Yport on the Normandy coast, near Fécamp, where the factory opened. Mètre étalon also harked back to the questionable value of measurement systems in those days, leading to uproarious comments in the humorous newspapers. A jotting by Duchamp associating the Bride with a 'girouette' caused some confusion. According to dictionaries and the Larousse illustrée, the word means 'wind vane', and that English translation came to play a role in the exegesis. On the basis of a chimney ventilator bearing the original label, it was established that the word 'girouette' also referred to such a device. This made it possible to establish a link with two etchings that Duchamp devoted to this lost ready-made. The Témoins: oculistes were no doubt inspired by the chamber pot with an eye painted in the bottom, which according to French tradition the village bachelors presented to the bride on her wedding night. This becomes plausible in the light of the Étant donnés in which Duchamp posthumously did away with the bachelor as peeping Tom.… [ABSTRACT FROM AUTHOR]

Marcel Duchamp's readymades and Bernard Leach's modernist revivification of the Japanese/Korean vessel tradition share the same historical space (both men were born in 1888). Critically opposed, as encapsulating the fundamental split between the "crafts" and the posterait conceptualization of art in the twentieth century, they nevertheless both share a certain anxiety about skill and tradition. Both are wary of the artistic ego: Duchamp from the position of the artist's participation in the "collective" intellect; Leach from the need of the potter to embed himself or herself in the vessel tradition, in order to carry its achievements forward. Their very different trajectories and perspectives, then, provide a vivid snapshot of the divergent fates of the temporal life of art and the crafts in our epoch. Yet, intriguingly, Duchamp opens his early period of reflection on authorship by presenting his critique of the artisanal art object in the form of an inverted vessel: a urinal (Fountain). The critique of traditional artistic labor is manifested in the image of premodern cultural continuity. This article reflects on this intriguing tension, as part of a wider discussion of the vessel tradition, craft, and modernity [ABSTRACT FROM AUTHOR]

The article focuses on the transformation of Marcel Duchamp's portrait. Photographed by an attendant using a photo postcard machine, Duchamp and Francis Picabia had their five-way portraits made. The photograph invites consideration of its greater importance within the larger context of Duchamp's work. Moreover, the role of the photographer in the process appears diminished, made mechanical. A good case can be made that Picabia carried a set of postcards with him when he left New York for Europe.

This article compares the artists Paul Cézanne and Marcel Duchamp by psychoanalyzing the representation of their fathers in their artwork. Aesthetic connections between Duchamp and Cézanne are considered. The contrast between Duchamp's emotional connection with his father and Cézanne's distance from his father is noted. In portraits of his father, Cézanne showed him in profile, and the author presents several other symbolic characteristics that indicate distance between the artist and his parent. Duchamp's portraits of his father are framed in terms of their connection, but his other artwork is interpreted as a rejection of the bourgeois identity cultivated by his parent.

Here Marcel Duchamp is presented as an artist who in the early twentieth century attempted to introduce a new game into art, alongside the modern penchant for reality and authenticity. It was overly clear to Duchamp that, in an objective sense, authenticity does not exist: what we are talking about here is a commitment, a conscious staging. Duchamp is seen not so much as an avant-gardist, but rather someone who was strongly attracted to the premoderti. And yet he was not interested in restoration; in fact, he believed that there was no going back. What fascinated Duchamp was transmutation, and his great model was Leonardo da Vinci. Unlike the cubists of Puteaux, who shared his passion for Leonardo, Duchamp was less interested in Leonardo's supposed topicality than in the fact that he was passe. It was precisely this conviction that enabled Duchamp to totally alter Leonardo's theory and practice. What Duchamp envisioned was a series of activities in which painting, science and technology would be inseparable. Just as Leonardo himself had intended. But Duchamp also knew that he would have to detach 'the art of painting' from painting itself, if he was-to introduce it into the game. He believed that it was impossible for painting to simply continue as it was. And the same was true of science and technology. When Duchamp repeated one of Leonardo's experiments, he invariably did so from a position which was the reverse of that of his predecessor. Quite early on, Duchamp saw the recording of ideas in notes as a legitimate form of artistic production. The Boîte de 1914 was directly inspired by the manuscripts of Leonardo. This was followed by two boxes full of notes, almost all of them devoted to Tin Large Glass. The manner in which Duchamp experimented with new techniques and new material is also reminiscent of Leonardo. By means of these and other examples, the author has attempted to document the enormous attraction which Leonardo's way of thinking and working held for Duchamp. It remained a secret attraction, since Duchamp seldom referred explicitly to his model. [ABSTRACT FROM AUTHOR]

The article provides information on the installation art works of Marcel Duchamp in Newark, New Jersey. Duchamp's first shop window installation was in April 1945, where he displayed Lazy Hardware in a window of Brentano's bookstore. His installation in a show window of Bamberger's department store was intended to promote the publication by Grove Press of the English translation of Robert Lebel's monograph Sur Marcel Duchamp. In November 1945, Duchamp and Enrico Donati installed another window display at Brentano's, where Duchamp's contribution was the gauze of paper fall like a wedding veil.

This article applies the Jungian psychoanalytic perspective developed by Murray Stein to the development of Marcel Duchamp as an artist. Stein maintained that modernity compromised the development of personal identity and framed his idea of the adult imago, or self identity, in terms of this fragmentation. The transitions that occurred in Duchamp's life following his arrival in New York City are framed in terms of this fragmented identity. The author analyzes the contrast between Duchamp's identity as a gambler and as a chess player in terms of the fragmentation in his life between the rational and the chaotic.

The article discusses the significance of the different persona of Marcel Duchamp to the development of the concepts of art. He portrayed himself as an art dealer, an entrepreneur, inventor, engineer, chess player and an artist. Through his effort, art could thrive beyond the traditional media of painting and sculpture. Under the name Rrose Sélavy and Richard Mutt, he had done many contributions to the art. His substantial array of pseudonyms and alternating persona have been long considered a critical feature of his complex aesthetic program. However, it is argued that he was simply recognizing that the concept of identity was shifting away from the traditional norm of an innate understanding of self toward a new concept of identity.

The article discusses Raymond Duchamp-Villon, sculptor, architectural designer and activist in the modernist cause. Duchamp-Villon abandoned his medical career to pursue his interest in sculpture and assumed the role of vanguard activist when he first gained the attention of Americans abroad. In 1911, his Puteaux studio became a gathering place for the leaders of the emerging Cubist movement. His sculptural works, such as the 'Torso of a Young Man' and 'Baudelaire,' attained a geometric simplification of sculptural mass that placed him at the forefront of his generation.

The article discusses the collegiate gothic plan for the Connecticut College made by Raymond Duchamp-Villon which is considered as a Cubist architecture. It mentions that the design for the Connecticut College in London along with the Maison Cubiste had provided insight into the involvement in the field of architecture as well as into the relationship between historicism and modernism of the works of Duchamp-Villon. After the difficulties on the presentation of plans by different artist, Duchamp-Villon presented his plans to George Chapell with the help of Walter Pach in 1914. Figures showing the facade of the Maison Cubiste provided by the National Art Gallery, the sketch as well as the model of the Connecticut College dormitory made by Duchamp-Villon are also provided.

Copyright of RACAR: Canadian Art Review / Revue d'art Canadienne is the property of Universities Art Association of Canada / Association d'Art des Universites du Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the meaning in "With Hidden Noise," a readymade production of Marcel Duchamp founded in eroticism. The genre offers a creation of complex and erotically peculiar intuitive mechanomorphic imagery of the philosophy of the artist. Moreover, it facilitates the discovery of the hidden understanding of words and things which reflects the psychoanalysis of the intellect of the artist. Several artworks of Duchamp including "Fountain," "The Bride Stripped Bare by Her Bachelors," and "Young Man and Woman in Spring" as well as the psychoanalytic interpretation of ideas and imagery of the artworks are also offered.

The article comments on the exhibition of sculpture and related drawings by Raymond Duchamp-Villon which closed at Knoedler's on November 4, 1967. The exhibition was certainly the most complete showing of Duchamp-Villon's work since the forty-five-piece collection assembled at the Brummer Gallery in 1929. The organizers should be commended for including some works by Jacques Villon. Among them is a 1904 pencil portrait of his father. The exhibition was considered an ambitious program and it ought to be applauded.