Marcel Duchamp as the creator of a new kind of plastic art

Marcel Duchamp stood at the origins of Dadaism and surrealism. In the 1920s, he actively participated in the actions of the "dada" and surrealist groups, as well as filming several movies, for example, in the surreal film René Claire "Entract".

Fontain by Marcel Duchamp

The artist also became known as a bright representative of the new trend in conceptual art - the method of "ready-made things" (ready-made). Duchamp presented to the attention of the public everyday objects, for example, a dryer for bottles or a urinal. His work shocked and attracted attention.



The influence of Marcel Duchamp's creative experiment on the very concept of art in the twentieth century is so great and multifaceted that in modern science his artistic personality is often regarded as one of the most vivid incarnations of the modernist spirit, continuing to play a prominent role in the aesthetics of postmodernism years after the artist's death. It was Marcel Duchamp who presented the world art with the genre of ready-made, i.e. The possibility of "presenting in the exhibition unchanged objects of mass production" [9], thereby transferring the creative dominant from the process of creating a work of art into the process of perception. At the same time, at a more detailed and historically limited level, Duchamp's language experiments and humorous art objects became symbols of the art of Dadaism and Surrealism, fully demonstrating the convention of language as an instrument of communication, on the one hand, and a realistic pictorial canon, on the other.Marcel Duchamp was not in a hurry to join the Dadaists or surrealists, preserving a kind of creative neutrality throughout his life. In fact, it was this "non-inclusion" in any current that determined the role of the artist in the history of art: "The reasons why Duchamp was such a suitable symbol for the avant-garde contain an important paradox: this role was qualified by the distance in relation to those, Whom he was called to represent "[13]. As the artist himself claimed, he "supported dada and surrealism, because they were encouraging signs" [8]. At the same time, Duchamp's personal creative views differed appreciably from the aesthetic concepts mentioned: "I wanted to show the man the limitations of his understanding, and the Dadaists wanted to replace the mind with recklessness" [12].

Marcel Duchamp

 Milestones of Marcel Duchamp

 Marcel Duchamp was born in 1887, in the town of Blanville, in France. He began painting in 1902. In 1904, Duchamp arrived in Paris, where he studied at the Academy of Julian.

His older brothers have already tried themselves in painting - R. Duchamp-Villon and Jacques Villon, quite famous cubists. The first paintings of Duchamp were written in the spirit of so popular then impressionism, whose influence in his youth was not avoided by any of Marcel's contemporaries. Later, in 1908, a young artist falls under the charm of painting "wild", although officially the period of Fauvism (1905-07) by that time had already ended. Since 1909, the short period of Marcel Duchamp's participation in exhibitions has begun. Usually it is exhibited along with the brothers and their friends. The artist gradually enters the circle of the Cubists, as if behind the scenes he joins them, learns something from them. A model for imitation for him is Picasso's painting Avignon's Maidens (1907). However, Duchamp was by nature always categorical: he brings to the extreme the manner of the cubists to make an image from all sorts of cubes, from him they turn into prisms, elongated cylinders superimposed on each other like pieces of a broken mirror. In February 1912, Duchamp exhibited his painting "Nude, Descending the Stairs" No. 2, which was perceived by his Cubist friends, as a mockery of their painting. 

 Duchamp refuses to work with canvas and oil. In 1913, the artist concentrated on the idea of ​​the need to break with a picturesque fantasy, not to work on the works from scratch, and choosing from the everyday life of the person around him, an object and proclaiming it (a little, however, finalized) by "real art".

Marcel Duchamp, Jacques Villon, Raymond Duchaye-Villon and his dog Pipe in the garden of Villon's studio in Puteaux, France, 1913. Unknown photographer

In his early works, Duchamp mastered the techniques of post-impressionism and Fauvism (Artist's father, 1910, Chess, 1910, Bush, 1910-1911, all - Philadelphia, Art Museum). In 1911-1913 he formed together with his brothers Jacques Villon and Raymond Duchamp-Villon the Puteau group - an association of artists who continued the innovative endeavors of analytical cubism. Plastic means of cubism (fragmentation of forms, the mutual imposition of small faces and planes), Duchamp sought to convey the movement, which brings his painting of the early 1910s closer to the searches of the futurists. Doubling, overlapping volumes fix, as in chronophotography, different phases of the movement of the figure (Sad young man on the train, 1911-1912, Venice, the P. Guggenheim Foundation, Portrait, or Dulcinea, 1911; Nude, descending stairs No. 2, 1912; King and Queen surrounded by fast nudes, 1912, all - Philadelphia, Art Museum). In subsequent works, complex pictorial structures are replaced by laconic, rigid machine-like forms that create contradictory proportions of volume and plane (Novobratchnaya, 1912; Crusher for chocolate, 1914, both Philadelphia, Art Museum).

Marcel Duchamp - Artist's Father

 In 1913-1914, Duchamp, disillusioned with painting, showed at the exhibitions his first red-maid - industrial products that acquired in the context of the exhibition the character of a non-utilitarian, abstract form (Bicycle Wheel, 1913; Bottle Dryer, 1914). These actions mark the beginning of the Dada period in the artist's work. In 1915, Duchamp arrived in New York, where, together with Picabia and Meng Ray, founded a group of Dadaists.

From America in 1918, Duchamp returned to Paris. There he took up work on the painting "L.H.O.O.Q." - drew the mustache and beard to the portrait of Gioconda da Vinci and announced that his work is much better and more modern. For a long time Mona Lisa Duchampa was in the office of the French Communist Party in Paris. However, there was a more radical version of the "improvement" of Mona Lisa - "L. H. R. O. O. Q. ", which he never dared to expose in public, and secretly admired this painting, hanging it in his bathroom. (Duchamp always "knew how to live his amazing life in a sealed", many years later Dali said about him).

"L.H.O.O.Q." by Marcel Duchamp

In 1915-1923 he worked on a composition called Big Glass: The New Bride, stripped by her bachelors (the original version, left unfinished, destroyed, the author's reconstruction in 1936, Philadelphia, the Museum of Art). The composition, made in a complicated technique (painting with oil and varnishes on glass, a collage of paper, foil, wire), symbolizes "sexual mechanics" - the circulation of instinctual desires and secret flows of the subconscious. In 1923, Duchamp announced his refusal of artistic creativity and devoted himself, mainly, to the chess game. However, from time to time he appeared with sarcastic, provocative manifestations of "anti-art". His red-maid, surreal "objects", installations, rotating structures entered the prehistory of such areas as op-art, pop art, kinetic art, "new realism." In 1935-1941 he created a kind of portable museum: miniature replicas and reproductions of his own works, packed in boxes, packed in a suitcase (Paris, National Museum of Modern Art).

Only after the death of the artist was discovered another of his creation, under the title "Given: 1. Waterfall. 2. Gas lamp "(1946-1966, Philadelphia, Museum of Art). This installation with a defiantly erotic female figure, spread out with a lamp in your hand against a strange landscape, can be seen only in the crack of a dilapidated door that tightly covers the enigmatic scene. At the end of his life, Duchamp acquired the glory of a pioneer and became the idol of a new generation of avant-garde, which renewed the experimental beginnings of Dadaism.
After the collapse of Dada, Marcel Duchamp continued his work within the framework of surrealism.Since 1942, Duchamp was almost always in America. There he continued to work on his favorite "red-maidami." For example, in 1958 he put a vest on the audience. Then - a shirt. In general, the fifties passed for the artist under the sign of continuous exhibitions. Duchamp could be absolutely happy. His work of recent years - pencil drawings of loving men and women - show that joy and happiness, as well as his former sarcasm, sufficed him abundantly for the rest of his life.
 

Crafts and crafts of Marcel Duchamp

Fine arts are the language of visual signs, whether traditional or not, the same as oral speech - the language of the signs of the auditory; And in both cases the signs are inseparable from the illusion that they belong to the things themselves. However, there is a temptation to turn plastic arts into a letter, using completely arbitrary symbols, with the same conventional meaning as the signs of the alphabet in relation to the words that are written down with their help, and allowing only the most flexible, subtle connection from all possible . Such a distance Marcel Duchamp set himself in his famous work "The Bride, Undressed by His Bachelors, One in Two Persons." Extremely unexpected, sometimes simplistic, and sometimes highly specialized tools are used here to move from the level of reality of processes and things brought together to an abstract collection of signs, which, among other things, are printed on a transparent surface, a glass plate replacing the canvas. Hence the phenomenon of "nine male forms" or "cemetery of uniforms and liveries," where the images were initially reduced to the anonymity of the bearers of uniforms and are depersonalized in the manner of chess figures; Hence the reception of a "shot" that actually carries various parts of a solid body onto an image surface instead of the usual geometric projection.

Stepping on and refusing to even balance on a narrow strip of uncertainty separating the sign from the signified one, one can come to a complete denial of the meaning of symbolization as such and transfer all interest to the very fact of choosing one or another sign. Strictly speaking, this is no longer a sign: the chosen word, form or object is essential here only to the extent that they are the result of choice, so that, since their ability to mean is absolutely arbitrary, they can now be carriers of any value that can only be Imagine. And in the extreme case, when the choice is abolished (Duchamp in excess provides such opportunities in his "samples of spontaneous stop" - the figures that are formed as a result of free fall from a meter height of horizontally stretched and aligned along the length of the yarn, so that each of them, landing , Bends "on its own"), it remains to rely only on the case: individual intervention, if one can speak about it at all, actually turns into a complete acceptance of how things have almost become oneself.

Portrait (Dulcinea) by Marcel Duchamp, 1911

Collage - and this is undoubtedly one of the dizzy heights of cubist painting - introduces a fragment of reality into the artificial world of the picture. Surrealists have a collage of ready-made elements, which, individually or in a mixed connection, are attributed to some allegorical meaning. Both mentioned techniques are based on contrast or surprise and carry, to varying degrees, the imprint of Romanticism. There is nothing like this in a completely simple and discouraging invention, called Duchamp's "red-maid": industrial goods or finished products (for example, advertising posters) bearing his name; Sometimes they are accompanied by a few words of a signature or slightly retouched. The selected object here is simply isolated, marked, excluded from the environment and transferred to another environment; A fragment of reality is not withdrawn from it in order to push it against the man-made parts of the picture or turn it into a symbol - it is taken away for the sake of seizure itself and draws its own significance, its unique effectiveness in the fact that it is cut off from the surrounding.

Widely using serial (ready-made, typical) things, Marcel Duchamp-with his rejection of everything that anachronically reminds of manual labor-does not at all merely seek to replace the private, calligraphically inferred by the individual, with the universal, endowed with the same (absolute in its completeness) inevitability , Which has a printed page compared to the handwritten one. No, no mysticism of beautiful things, no fascination of simple-minded inhabitants of the West with wonderful products of industrial production. Rather, this move is one of the logical links of hard work on desacralization and anatomy of painting, which Duchamp was devoted to for many years, anxious to use his own, rare gift of the artist solely in the form of his denial [6].

Will we take an American advertising billboard (to which Duchamp added a slightly distorted name of Apollinaire (Arolineere Enameled - apoliner lacquered, acronym for the name of the advertised oil paint "Ripoline"), a few words without any logical connection at the bottom and the hair on the left of the mirror depicted in the picture) ; A sketch of the perfume bottle (containing the play of words the name on its label is crowned with a portrait of Eros Selavi (the name of the heroine can be read as "Eros c'est la vie", that is, "Eros is life") - a figure of the author's invented alter ego); 

 Recommendation in response to the written request of several people to use the martingale in the gambling hall of Monte Carlo (use three colors - black, red, green, white - on a white background with the photograph of the inventor and the endlessly repeated inscription "moustiques domestiques demi stock" (literally " house mosquito ")); A check made by the payer himself and handed over to the adoring dentist for payment of his services (such a syllogistic step: the check is counterfeit, but at the same time genuine, because the price is given to him by the hand drawing it, an ironic way to show that the market price of a work of art today is largely a question signature); Or take the dictionary expressions realized by Duchamp literally: a geometry textbook that hangs on four strings and really represents an embodied "stereometry" or an object exposed in the United States called "Air of Paris" - a glass ampoule, before being sent air filled in Paris (the game In which everything pictured is absolutely genuine, a forgery based on the absence of forgery); Or take, finally, "roto-reliefs" (gramophone records for viewing, not for listening, since they seemed to be convex or concave at the time of rotation, painting, which ceased to be a painting, is not the fruit of the artist's creativity, but the result of the ingenuity of an expert in optics ), "Box-suitcase" filled with blanks and copies of works and exhibited as an independent work, or a map of the USA, turned into a portrait of George Washington, skilfully stripped and hygienic napkin simultaneously, all ne Numerous red-mades, full or partial (the author's data is already ready or conceived and made by himself from things made by others), clearly embody one thing: Duchamp's desire to deprive a person created by any person from outside, to completely eradicate all linguistic in it Rhetoric, the notorious ridge, unyielding and invulnerable despite the efforts of those who followed - or claimed to follow - Verlaine's long-standing and simple-hearted covenant (referring to Paul Verdun's "Poetry Art": "Rhetoric ridge Take the exit "(trans. Boris Pasternak)). After ruptures, strains and precautions-such sort of periphras or piled out of politeness, or interlacing with silence all that has been said-the sign is deprived of any reference to reality, it is now scrupulously cleared of any explicit content. The most unusual case here can be, for example, here is a red-maid: an object that is not recognized by sound is closed in an impenetrable box, which is then sealed.

 

Eros of Selawi. Photo by Meng Ray, 1921

A kind of classic game (on the surface, smooth in appearance, but everywhere dotted with metaphysical ruts), a mysterious sequence of cells through which the mind can skip only on one leg "- that's what metaphors can give at least a general idea of ​​the techniques used by Duchamp in That is necessary, for lack of the best, to call it "works". Such cleaning up to the ascetic purity, which Duchan's cheerfully uninhibited manner leaves behind in the place of any excesses, gives one invaluable advantage: in art, almost indistinguishable already behind the screen of social conventions and a halo of religious veneration, a game is revealed. The joy of a man who, having clearly seen the endless system of mirrors in which he and his lot is walled in, once and for all refuses at will to fall into the trap of soap bubbles painted with magic lanterns, and with understanding to build his own cabinet of curiosities; Joy is not an artist or a creator, but an inventive creator who, in the place of generally accepted reflections, puts a lot of others, which in practice have never been approved by anyone, but not in the least justified, and without asking anyone, produces magnificent prints and business cards, game puzzles for Competitions Lepin and pot-bellied silenas, full of healing oils and philosophical subtleties [6].

The place cleared after the elimination of the great art and the expulsion from the man of the demons of the simple-hearted faith in what was said is free. On it you can build a building of new entertaining physics (or logic), open for the most elegant finds in any trades and crafts.

So, we can confidently conclude that the transformation of Marcel Duchamp's plastic art into a letter, using various kinds of arbitrary signs, sometimes endowed with a very conventional meaning, had a significant impact on the overall ideological style of Duchamp's creations, the formation of his creative heritage.

The originality of the ideas of the famous artist undoubtedly had an influence on the formation of various trends in the art of the second half of the 20th century.Marcel Duchamp used ready-made things for his works at all without any desire to simply replace the private, derived by the individual. In all likelihood, this original artistic move is the logical link of a peculiar mission for the desacralization of painting, to which Duchamp gave his forces.

 

The urinal as the main masterpiece of the twentieth century

 When in Russia there was a Bolshevik revolution, in an opposite part of a planet the artist Marcel Duchamp too has made revolution, having exposed in the New York gallery a sanitary ware.The urinal was clean and new, fresh from the store. Duchamp only turned it 90 degrees, called "Fountain" and wrote on his side one of his pseudonyms - R. Mutt, which in translation means "fool".Almost 100 years passed, and in 2004 the Daily Telegraph newspaper conducted a survey among British art market insiders. As a result, the 500 most influential artists, dealers, critics, custodians of museums and gallery owners formed TOP-5 works of the 20th century, which had the greatest impact on the further development of world art. The following list was obtained:

1. Marcel Duchamp. "Fountain".

2. Pablo Picasso. "Avignon girls".

3. Andy Warhol. Diptych "Marilyn".

4. Pablo Picasso. "Guernica".

5. Henri Matisse. The Red Room.

The expert, who was asked to comment on the fact that the urinal took first place, admitted that he was slightly shocked - not because the Fountain was not worthy of such an honor, but because he was ahead of Picasso and Matisse.And it is true. After all, these artists, though mocked as they could over the usual ideas about painting, but still honestly worked their hands, they drew something on canvas. And then the man went to the store, bought a sample item and - here's to you - a brilliant work. Duchamp and the name for this art came up with - a finished product.Since the Renaissance, the visual arts were in pursuit of reality, trying to repeat it as accurately as possible. For example, in painting, the end product of these efforts was a canvas in the frame, which was something like a window into the world - as if it was not a canvas at all, but a clear glass. That is, for several centuries realism was the usual norm. And the best product was considered one where reality was represented most realistically - such, roughly speaking, was the criterion of quality.In the late 19th century, the criteria changed. With postimpressionism, symbolism, etc., the artists began to portray not the reality behind the "glass", but what happened in their minds, in the heart, in the subconscious, etc. That is not the world, but their impressions of it.Both words in the phrase "depicting reality" were doubted. When the Cubists pasted on the canvas ropes, newspapers and playing cards, they violated the principle of "portray." As in this picture of Picasso's "Guitar":

P. Picasso A bottle of Vieux Marc, glass, guitar and newspaper. Collage, drawing with a pen on blue paper, 1913

And "Dryer for bottles", exhibited in 1914, collected from improvised materials.

  

Marcel Duchamp. The Bicycle Wheel, 1913.

Marcel Duchamp. "Dryer for bottles", 1914.

That urinal remained conceptually untouched. The fact that the artist signed it, turned over and changed the name, only emphasizes the position of complete non-interference in the material object itself.

So what is the merit of Duchamp? In that he questioned previously obvious things:

1. That the work must be done by the artist's hands.

2. That the final product of creativity is actually the same material object that the artist made.  

Along with the urinal, Duchamp actually put forward the idea that an artistic act is not an oil painting, but those complex processes in the head and soul of the artist that precede it. The refutation of the old and the obvious and the extension of the boundaries of art - this is the genius of the Dada de Duchamp.

With the habitual imitative function of art, which seeks to replicate reality, it was once and for all done away with. Duchamp brought to the logical end, to the point of total absurdity, what constituted the supreme value of the former art. And the truth is - no picturesque copy can show the subject better and, for that matter, it's more realistic than he does himself.Duchamp showed that art is, in fact, the context that aesthetic laws are relative and determined by the rules of the game external to the artobject, which are established almost arbitrarily by the artist himself, art critics, and gallery owners.

As for Duchamp's expansion of the boundaries of what is possible, it is colossal. Redi maid further grew and became an integral part of almost all genres of visual art - assembly, installation, performance, environment, etc.

Strictly speaking, Duchamp did not set the urinal, because he was not given it. Although he paid $ 6 for participation in the exhibition, at the last moment its organizers were frightened and gave Duchamp from the gate a turn. And the urinal was forever lost to humanity - either lost in the storerooms of this gallery, or Dushan himself threw it into the trash.

In the next three decades, world art was somewhat distracted by surrealism, neoacademism, and abstract expressionism. And only in the 50 years, when pop art reanimated red maid, "Fountain" has gained worldwide fame. By order of museums, Duchamp made several copyright repetitions of his urinal. A few more signed copies were sold to private collectors. Until last year, it was believed that there are such authorial replicas in the world 15. But it was recently revealed that 4 more urinals claim to authenticity of Duchamp's signature.

The work of Duchamp continues to torment the artists, who no-no and yes will burst out with some reference to him. So, for example, in Russia, two replicas were made in the direction of Fontana M. Duchamp. In 1993, Avdey Ter-Oganyan exhibited in the Gallery on Trehprudnoy such work:

 "I presented the situation in which the" Fountain "Duchamp broke," - says the artist. - "How will the museum workers go? Stick an old one, or buy a new one. I think they will act in the most ridiculous way - they will make a copy. But it's not a matter of a specific subject, but an idea. Duchamp even left the instruction that museums always exhibit the usual new model for three kopecks - in order to prevent the "fountain" from turning into a nostalgic antiques "[3].

A year before, in the same "Gallery on Trehprudnoye", Ter-Oganyan exposed the urinal, restoring his original functions.

Surprisingly, shortly afterwards, artist-actionist Pierre Pinonchelli pissed in the work of Duchamp, exhibited in the city of Nimes in the south of France. To the court, he said that in this way he returned to Duchamp's work a truly Dadaist spirit. The artist was sentenced to a month in prison for "deliberate damage to public objects," which in general sounds very ambiguous.

On January 6, 2006, the French police detained Pinoncelli for the second time, already in the Museum of Modern Art - the Pompidou Center, where Pinoncelli wrote "Dada" on the "Fountain" and, splitting it with a hammer, chipped off a piece. In his defense, Pinoncelli said: "I'm not some cheap vandal, as I'm trying to imagine. Vandal does not sign his work. I winked at Dada, I wanted to summon his spirit, the spirit of disrespect. " However, despite the credibility of the explanations, the court nevertheless gave the 77-year-old Pierre Pinoncelli three months suspended and imposed a fine on him.

In 2002, in New York at the auction Phillips sold the last set of red mezad Duchamp, remained in private hands - 14 objects from the famous collection of Arturo Schwarz. The works were created in the period from 1913 to 1920, and in 1964 the artist performed their copyright copies. "Fountain" was sold for 1185 thousand dollars.

***

 In order to explain the reasons that prompted the representatives of the world of culture and art to create new modernist artistic trends, a short digression into history should be made.In the summer of 1914 it was marked by the beginning of the First World War. About 60 countries participated in it, for the first time new means of warfare were used, aimed at mass killing of people. According to historians, from 1914 to 1918 more than 20 million people died.

Of course, all wars are meaningless, and yet, among them, the most absurd ones can be identified. This was the war of 1914. All its reasons were reduced only to territorial claims among the countries of Europe. Too little power was at the heads of those countries, they all wanted more: world domination, new colonies and humiliation of rival countries. The beginning of the 20th century became a catastrophe and the disintegration of human values. The beginning of the merciless massacre was a shock to the people of that era, because it seemed that humanity is developing, that a new civilized, intelligent world is being built ... And as a result - chemical weapons, millions of corpses, "lost generation" and humiliating pitiful Versailles world: the rulers did not understand anything And already dreamed of a new war.

As a consequence of the First World War, in 1916 a modernist artistic trend arose - Dadaism. To give a simple definition of this phenomenon is difficult, it was rather a kind of philosophical system manifested in the negation of reason, logic, and art.

Dadaists. Photos of Meng Ray. 1930
Back row: Meng Ray, Jean Arp, Yves Tanguy, André Breton.
Front row: Tristan Tzara, Salvador Dali, Paul Eluard, Max Ernst, Rene Crevel

Dadaism originated in Zurich, Switzerland, which adheres to neutrality during the war. At that time, refugees from all over Europe, refugees from their native country, people, as well as deserters, traveled to Switzerland. The word Dadaism has several meanings, it is a wooden horse, from the French dadaisme, and the double concord of "yes-yes" in Russian and Romanian, and figuratively, children's incoherent babbling - so one can conclude that Dadaism does not have an exact interpretation , And this is exactly what the founders of this trend needed, which has a fuzzy framework. Dadaism is even often called anti-art.

Later, the painter Marcel Duchamp joined the Dadaists, who is especially known for his 1929 work "L.H.O.O.Q." - Mona Lisa with a mustache, and also because he was the first to give out ordinary ready-made things for works of art (ready-made).

It was Marcel Duchamp who in 1913, in the context of fine art, first used the term ready-made, which created several works in this technique: the "Bicycle Wheel" (1913), "Bottle Dryer" (1914), the scandalous "Pissuary" (1917). Known and his "Mona Lisa with a mustache" (1919).Duchamp represented as his work some object or text created not by himself and not with artistic purposes.

Marcel Duchamp believed that the artist should see the image in everyday things.

Duchamp's method consists in moving an object from non-artistic space to artistic space, so that an object is opened from an unexpected side, in it properties that are not seen outside the artistic context appear.

A kind of program work by Duchamp is a painting called "The Bride, Unmasked by His Bachelors, or Big Glass" (1915-1923). The artist worked on this composition for eight years. The entire composition is placed between two cracked glasses. After the collapse of Dadaism, Marcel Duchamp continued his creative search within the framework of surrealism. In 1938 he took part in the International Exhibition of Surrealism in Paris. After the end of the Second World War, many of his works were devoted to the problems of fine art, which were extremely popular with a new generation of artists in America and Europe.

 

References 

 

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2. Домарацкая Е.С. Экспериментальное искусство Марселя Дюшана // Известия РГПУ им. А.И. Герцена. 2004.  №7. 

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Источник: http://adindex.ru/publication/gallery/2011/04/19/64460.phtml

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7. Серс Ф. Тоталитаризм и авангард. В преддверии запредельного./ Пер. с фр. Дубин С.Б. — М.: Прогресс-Традиция, 2004. — 336 с.

8. Berswordt-Wallrabe, K. v., Ed. Marcel Duchamp Respirateur. Bonn: Staatliches Museum Schwerin/Hatje Cantz, 1999. Р. 98.

9. Chassey E. d., Ed. American Art: 1908-1947. From Winslow Homer to Jackson Pollock. Paris: Editions de la Réunion des musées nationaux, 2001. Р. 104.

10. Duchamp M. Duchamp du Signe. Paris, 1975; Schwarz A. Marcel Duchamp. Paris, 1974; Clair J. Duchamp ou le Grand Fictif. Paris, 1975; Mink J. Marcel Duchamp 1887—1968. Art as Anti-Art. Koln, 1995.

11. Hamilton C. H., Agee W. C. Duchamp-Villon. New York, 1967; Cabanne P. Les trois Duchamp. Paris, 1976.

12. Kuenzli R., Ed. Dada and Surrealist Film. Cambridge, Mass. & London, The MIT Press, 1998. Р. 2.

13. Seigel J. The Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self. Berkeley-Los Angeles-London, University of California Press, 1995. Р. 10.

14. Интернет-проект «Модернизм в изобразительном искусстве». Источник: http://art-modernism.ru/index.php/dyushan.html 

Author - Dr Vladimirov T. Rostov-on-Don  

Original here 

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