From Library Journal
With so many recent books on the artist, including a nearly definitive biography (Duchamp, LJ 12/96) and a newly revised catalogue raisonn (The Complete Works of Marcel Duchamp, LJ 9/15/97), one may question the need for a volume ostensibly focusing on the collection of Belgium gallerist Ronny van de Velde. But this contribution by renowned Dada scholar Naumann brings a fresh focus on Duchamp's interests in reproduction and appropriation and is thus a welcome addition. In highly readable prose, Naumann recounts the artist's career in chronological chapters, emphasizing both his early use of printing techniques to undermine deliberately his own career in painting and his later readymades and variant reproductions. Throughout, Naumann clearly shows how Duchamp harnessed mechanical reproduction paradoxically in the service of his constant striving not to repeat himself. Meticulously laid out and adorned with 440 illustrations (200 in color) of objects in van de Velde's collection and other seminal works, the book can serve equally the newcomer and the devotee. Highly recommended.
-Douglas McClemont, New York Copyright 2000 Reed Business Information, Inc.
Book Description
The nineteenth century ends in 1914 with Picasso, the twentieth begins with Marcel Duchamp.' This statement by the art critic Pierre Cabanne characterizes the French artist Marcel Duchamp (1887-1967) as a radical innovator, whose influence on the development of present-day art can hardly be overestimated. Almost all the avant-garde movements since 1945 - pop art, arte povera, conceptual art, performance art, multi-media art, and almost all post-modernist trends - are derived in one way or another from his artistic studies. Although Duchamp also left a limited number of paintings - including the cubist Nude Descending a Staircase of 1912 and his masterpiece, the painting on glass of The Bride stripped bare by her Bachelors, even - he is above all known as the creator of the 'ready-mades', everyday objects such as a snow shovel, a bicycle wheel, a bottle rack or a urinal, which Duchamp promoted into works of art by adding his signature and a title. In this way he put up resistance to what he called 'retinal art', art which had no other object than to please the eye. He did not think the unique, handmade and visually pleasing aspect of a work of art important, but rather the meaning and the value which the observer gave to the object. From this point of view, which in fact also contained an element of humour, Duchamp realigned the frontiers of art, and his radical new ideas inspired whole generations of artists. In his life-long search for alternatives to traditional artistic practice, Duchamp was fascinated by the art of mechanical reproduction, which was expressed not only in his ready-mades, boites-en-valise and his etchings, but also in the many copies, replicas, multiples and photographic reproductions, which were made of his work during and after his lifetime. This aspect forms the central theme of this richly illustrated study, which offers a new and often unexpected look at the life and oeuvre of one of the most remarkable artists of the twentieth century. Francis M. Naumann is an expert on Duchamp and Man Ray. He has previously published Marcel Duchamp: Artist of the Century and New York Dada
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