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This article studies the geometric system underlying the work of Marcel Duchamp (1887-1968), Moulin à café or its English name, The Coffee Grinder, from 1911. This work (considered seminal by Duchamp himself) proved essential for the development of La Marièe (The Bride) of 1912 and La Marièe mise à nu par ses cèlibataires meme, 1915-1923, (The Bride Stripped Bare by her Bachelors, Even), also known as Le Grand Vérre or The Large Glass. The publication De ou par Marcel Duchamp par Ulf Linde (Aman and Birnbaum, 2013) has been crucial for the development of this study. To understand the context of this study in its time, in the arts and in architecture, I recommend reading my previous work on the issue, entitled, Critique of Ulf Linde's geometric analysis of the work of Marcel Duchamp. (Franco, 2017) 1, of which this is a continuation. [ABSTRACT FROM AUTHOR]

This study calls into question the geometric explanation given by Ulf Linde in 1977 for two of the artworks of Marcel Duchamp (1887-1968), Bride (La Mariée, 1912) and the Large Glass (Grand Verre, 1915- 1923). In the analysis of the first of these, Linde succeeds in diagnosing that the work follows golden ratio proportions, albeit with incorrect mathematical expressions. With the second artwork, the analysis seems to me unsound, since he does not mention the measurements from which the study begins. Because of this, and as proof, I carry out the same analysis as Linde applied to the Large Glass, but starting from the measurements given by Duchamp, finding that despite being very close, they do not correspond to a golden ratio. [ABSTRACT FROM AUTHOR]