Marcel Duchamp, Surrealism


His Twine: Marcel Duchamp andà Étant donnés: 1. Los Angeles chute d’eau, 2. Le gaz d’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gasoline), 1946-66
Marcel Duchamp, American (born France)
Mixed-media assemblage: wood home, bricks, velvet, timber, leather-based stretched over an armature of metal, twigs, aluminum, iron, glass, Plexiglas, linoleum, cotton fiber, electric lights, gasoline lamp (Bec Auer type), motor, etc.
7 foot 11 1/2 ins x 70 inches (242.6 x 177.8 cm)
Gift of the Cassandra Foundation, 1969
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No photograph can communicate the intensity regarding the unique visual experience of witnessing Marcel Duchamp’s , which the musician built in total secrecy over a twenty-year duration, from 1946 to 1966. The unsuspecting audience encounters a magnificent picture: a realistically constructed simulacrum of a naked woman lying spread-eagle on a bed of dead twigs and dropped leaves. Inside her left hand, this life-size mannequin keeps aloft an old-fashioned illuminated gas lamp associated with the Bec Auer kind, while behind her, in far length, a lush wooded landscape rises toward the horizon. This brightly illuminated backdrop contains a retouched collotype collage of a hilly landscape with a dense group of trees outlined against a hazy turquoise sky, replete with fluffy cotton clouds. The only real movement in otherwise eerily nonetheless grotto is a sparkling waterfall, running on an unseen engine, which pours into a mist-laden pond regarding right. Duchamp began work with their diorama-like assemblage when he ended up being earnestly involved with Surrealist convention design and closely lined up with the aims and ideals of the international Surrealist movement. Undoubtedly, a detailed study of the real history associated with work and its particular construction reveals that Duchamp had been giving an answer to the changing problems of Surrealism both after and during World War II, whenever team users embraced tarot cards, black magic, pagan rituals, arcane imagery, and, first and foremost, a fresh conception of Eros. As Surrealism recast it self in 1940s in response to the increase of fascism and carnage of World War II, its protagonists increasingly turned to an interior globe, for instance the one seen behind the massive Spanish wooden door in Étant donnés, which distinguishes the viewer from an urgent and unimaginable landscape, noticeable just by looking through peepholes.Source:


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