Download aka Marcel Duchamp: Meditations on the Identities of an by Anne Collins Goodyear, James W. Mcmanus PDF
By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of modern essays via best students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the whole diversity of Duchamp's profession, those papers learn how Duchamp's impression grew and inspired itself upon his contemporaries and next generations of artists. Duchamp offers an illuminating version of the dynamics of play in development of creative identification and legacy, together with either own volition and contributions made via fellow artists, critics, and historians. This quantity isn't just very important for its contributions to Duchamp reports and the sunshine it sheds at the better impression of Duchamp's paintings and profession on sleek and modern paintings, but in addition for what it unearths approximately how the heritage of artwork itself is formed over the years by means of moving agendas, evolving methodologies, and new discoveries.
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Additional resources for aka Marcel Duchamp: Meditations on the Identities of an Artist
33 “Portrait Dolls Have Made Their Debut in Society,” New York Times, June 15, 1924; a Sardeau doll portrait of the popular actress Doris Keane, dressed as Catherine II from her role in The Czarina, is in the collection of the Museum of the City of New York. 34 “Doll Portraits of People who Deserve Better,” Vanity Fair, January 1930, 45; Aline Fruhauf Making Faces: Memoirs of a Caricaturist (Cabin John, MD: Seven Locks Press, 1987), 75-76. 35 Goodyear and McManus, Inventing Marcel Du‑champ, 68–69, 102–3.
Charles Darwin’s theories had emphasized genetic predisposition, further undercutting established notions of consciously directed moral character. One could no longer presume a static, fixed, externally evident character; identities became multiple, mutable, fractured, invented, or disguised. Portraiture, in response, at the turn of the twentieth century, had to negotiate dramatically new intellectual and artistic territory. 19 Gertrude Stein helped launch such experiments, evoking the inner essence of an individual through coded reference or emotional implication.
Shifting definitions and the blurring of boundaries between high and popular art forms lent credence to experiments of all kinds. Artists and intellectuals sampled all forms of performing and visual arts, enjoying Enrico Caruso at the Metropolitan opera one night and the shenanigans of the circus or vaudeville stage the next. Vanity Fair’s debonair editor Frank Crowninshield, who admitted his preference for anything new and fresh, offered an unexpected mix of literary and cultural products to his magazine’s audience, conflating high and low.