Marcel Duchamp
Marcel Duchamp was born in Blainville-Crevon, Normandy, France on July 28th, 1887 and is the Painter. At the age of 81, Marcel Duchamp biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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Henri-Robert-Marcel Duchamp (28 July 1887 – October 2nd, 1968) was a French-American painter, sculptor, chess player, and writer whose career was linked to Cubism, Dada, and experimental art.
He was extremely cautious with his use of the word Dada and was not immediately connected with Dada organizations.
Duchamp is often regarded as one of the three artists who helped to define the twentieth century's twentieth-century plastic arts' pioneering of new discoveries in painting and sculpture, as well as Pablo Picasso and Henri Matisse.
Duchamp has had a major influence on twentieth-century and twentieth-century art, as well as twentieth-century twentieth-century art.
By World War I, he had dismissed the work of many of his fellow artists (such as Henri Matisse) as "retinal" art, with the intention only to please the eye.
In lieu, Duchamp wanted to use art to stimulate the imagination.
Early life and education
Marcel Duchamp was born in Blainville, France, to Eugène Duchamp and Lucie Duchamp (formerly Lucie Nicolle) and grew up in a family that loved cultural pursuits. Émile Frédéric Nicolle, the painter and engraver's maternal grandfather, stuffed the house, and the family used to play chess, read books, paint, and make music together.
The seven children of Eugene and Lucie Duchamp's seven children were born as an infant and four others became successful artists.Marcel Duchamp was the brother of:
Duchamp was closer to his sister Suzanne, who was a willing accomplice in games and activities that were inspired by his fertile imagination as a youth. When he left home and began training at the Lycée Pierre-Corneille in Rouen, Duchamp followed in his brothers' footsteps. Robert Antoine Pinchon and Pierre Dumont, two other students in his class, later became well-known artists and lifelong colleagues. He had been locked into an academic system that concentrated on intellectual growth for the next eight years. Despite being a good student, Math was his favorite subject, and he received two mathematics awards at the school. He also received a prize for drawing in 1903, and at his inception in 1904, he received a coveted first award, cementing his new choice to become an artist.
He learned academic drawing from a mentor who struggled to "protect" his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamp's true artistic mentor at the time, Jacques Villon, whose fluid and incisive style he hoped to imitate, was his brother, who wished to imitate. Suzanne's sister Suzanne was depicted in various poses and activities at 14 years old, his first serious art attempts were drawings and watercolors. Using oils, he painted landscapes in an Impressionist style that summer.
Early work
The early art works by Duchamp match with Post-Impressionist styles. He experimented with classical methods and subjects. Duchamp referred to the work of Symbolist painter Odilon Redon, whose approach to art was not particularly academic, but more subtle.
He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards rather than attending classes. During this period, Duchamp drew and sold cartoons that reflected his ribald humor. Many of the drawings use verbal puns (sometimes in multiple languages), visual puns, or both. The rest of his life he was intrigued by words and symbols.
He began his compulsory military service with the 39th Infantry Regiment in 1905, while working for a printer in Rouen. He learned typography and printing techniques, skills he'd use in his later work.
In the 1908 Salon d'Automne and the Salon des Indépendants, Owing to his eldest brother Jacques' participation in the prestigious Académie royale de peinture et de sculpture Duchamp's work was on view in the Salon des Indépendants the following year. Fauves and Paul Cézanne's proto-Cubism inspired his artworks, but Guillaume Apollinaire, who would later become a friend, slammed "Duchamp's very ugly nudes" (Les nus très vilains de Duchamp). After being introduced to a life of fast cars and "high" living, Duchamp became lifelong friends with exuberant artist Francis Picabia.
The brothers held a monthly discussion group with Cubist artists like Picabia, Robert Delaunay, Fernand Léger, Roger de La Fresnaye, Peter Gleizes, Juan Gris, and Alexander Archipenko in Puteaux in 1911. Poets and writers were also present. The group came to be known as the Puteau Group, or the Section d'Or. Duchamp did not participate in discussions of Cubist theory or otherwise, because of their fear of being timid. However, he painted in a Cubist style and gave an impression of movement by using repetitive imagery in the same year.
Duchamp's fascination with transition, change, movement, and distance became apparent, and as many artists of the time, he was fascinated with the possibility of portraying the fourth dimension in art. Sad Young Man on a Train embodies this fear: his painting Sad Young Man on a Train embodies this apprehension:
The Cubist overlapping frames and various perspectives of his two brothers playing chess in his 1911 Portrait of Chess Players (Portrait de joueurs d'échecs) are included in his 1911 Portrait of Chess Players, but Duchamp added scenes describing the players' unelastic mental activity.
Coffee Mill (Moulin à café), his first "machine" painting, also included artwork from this period, which he gave to his brother Raymond Duchamp-Villon (1911). Chocolate Grinder (Broyeuse de chocolat), the more figurative machine painting of 1914, prefigures the process used in the Large Glass on which he began working in New York the following year.
Nude Descending a Staircase, No. 14, Duchamp's first work to provoke significant controversy was Nude Descending a Staircase. 2 (Nu descendant un escalier n° 2) (1912) Nu descendant n° 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with heavily imposed facets that are similar to motion pictures. It depicts elements of both the fragmentation and synthesis of the Cubists, as well as the Futurists' movement and dynamism.
He first pleaded for the work at the Cubist Salon des Indépendants, but Albert Gleizes (according to Duchamp in an interview with Pierre Cabanne, p. 31) begged for him to abandon the painting or paint over the title that he had painted on the work and rename it something else. His brothers did approach him at Gleizes' behest, but Duchamp refused politely. However, there was no jury at the Salon des Indépendants and Gleizes, and there was no one in a position to refuse the painting. According to art historian Peter Brooke, the point was not whether the work should be hung or not, but whether it should be hung with the Cubist group.
"I said nothing to my brothers," Duchamp later recalled. However, I got to the show and carried my painting home in a taxi. I can tell you that it was a turning point in my life. After that, I realized that I would not be all interested in organisations." However, Duchamp did appear in the illustrations to Du "Cubisme" by artist André Mare's 1912 design for the Salon d'Automne (a few months after the Indépendants); he signed the Section d'Or invitation and participated in the Section d'Or exhibition during the fall of 1912. Brooke's argument was that "it was precisely because he wanted to remain part of the company" that he painted the painting; and that, rather than being poorly treated by the company, he was given a privileged position, notably because of Picabia's patronage.
The painting was on display at Galeries Dalmau, Exposició d'Art Cubista, Barcelona, 1912, for the first time; Duchamp's first exhibition of Cubism in Spain; later, the painting was on view in 1913 "Armory Show" in New York City. This exhibition, in addition to exhibiting American artists' works, was the first major exhibition of modern trends emerging outside of Paris, encompassing experimental styles of the European avant-garde, including Fauvism, Cubism, and Futurism. The Nude, a show-goers who were used to realistic art, was scandalized, and the Nude was at the forefront of much of the controversy.
Personal life
Duchamp was a regular user of Habana cigarettes throughout his adult life.
In 1955, Duchamp became a United States citizen.
In June 1927, Duchamp married Lydie Sarazin-Lavassor, but the couple divorced six months later. Duchamp was said to have chosen a marriage of convenience because Sarazin-Lavassor was the daughter of a wealthy automobile manufacturer. Duchamp said in January 1928 that he could no longer bear the responsibility and confinement of marriage, and the two families were soon divorced.
Maria Martins was his mistress from 1946 to 1951.
He and Alexina "Teeny" Sattler married in 1954. They lived together until his death.
Duchamp was an atheist.
