Marcel Duchamp: "Duchamp's Replications.

Duchamp, Arensberg and Stella

In a recollection shared with Arturo Schwarz almost fifty years later, Duchamp said the idea of Fountain arose in a conversation with Arensberg and Stella, and “they immediately went to buy the item.”

 http://www.danielrothbart.com/schwarz.html

http://www.theguardian.com/artanddesign/gallery/2013/feb/15/duchamp-bride-bachelors-barbican-in-pictures

It was in 1957, when the critic Robert Rosenblum wrote an article comparing one of Johns’s paintings to the “readymades” of Duchamp, that Rauschenberg and Johns took a trip to Philadelphia Museum of Art, where many of his works were displayed.

Historical note

Arensbergs lived in New York from 1915 to 1921 . . .

https://www.philamuseum.org/pma_archives/ead.php?c=WLA&p=hn

jose legaspi

Duchamp Hartley, Levine

 

Marsden Hartley’s 1913 painting The Warriors.

More Information: http://artdaily.com/news/23804/Marsden-Hartley--American-Modern-at-The-Boise-Art-Museum--#.U4OhLig1D5F[/url]
Copyright © artdaily.org

Marsden Hartley’s 1913 painting The Warriors.

More Information: http://artdaily.com/news/23804/Marsden-Hartley--American-Modern-at-The-Boise-Art-Museum--#.U4OhLig1D5F[/url]
Copyright © artdaily.org

Marsden Hartley’s 1913 painting The Warriors

More Information: http://artdaily.com/news/23804/Marsden-Hartley--American-Modern-at-The-Boise-Art-Museum--#.U4OhLig1D5F[/url]
Copyright © artdaily.org

Marsden Hartley - The warriors 1913 . via 

 

via

Objects of indifference

Marcel Duchamp talks with Martin Friedman, Walker Art Center director (1961-1990), about the readymade. October 18, 1965

MF: One of the things we are, of course, tremendously interested idea is in the whole idea of the ready made. We’re familiar with the concept of junk sculpture. This is something that such artists as Dankievitch and even Picasso in earlier days more or less advanced. To pick up an object which was made for an entirely different use, possibly a discarded object, which because of its shape and its patination, it’s configuration suggests another possibility, It maybe a very satisfying texture a very romantic kind of quality about the piece, in other words, it became  a kind of chosen object but chosen for aesthetic reasons.

In what respect does junk sculpture differ from the concept of the ready made, let’s say for example the bottle rack or the bicycle wheel

MD: This was of course the difficulty when it came to my mind, but that was back in 1915 when I applied the word readymade to these objects. In fact I only made 13 of them in my life, in 40 years, so its not a very much of an occupation, but even so  (laughter) even so, I mean, the fact of choosing, of selecting and deciding on ONE was the result of being very careful about not using my sense of beauty or my belief in some aesthetics of some kind. In other words, finding some object of complete indifference as far as aesthetics are concerned, and ah, that indifference is very difficult because there is always some detail in any object that will attract you aesthetically, meaning that you will find it beautiful or even ugly, which is the same thing. Ugly or beautiful is the same thing when it comes to choosing an object in the form of a ready made, by ready made  also, the idea is being made by, either manufactured or made by another person can be a ready made too, you see. I even remember signing a big painting in a restaurant for the pleasure of calling it ready made you see ? and of course it was not manufactured (laughter) so of course I couldn’t take the painting with me because it was attached to the wall, but this explains that the difficulty is to make people understand that it was not through the attraction of the beauty of the object that I would call it ready made, that’s why I made so few because  . . .  after a certain while anything becomes beautiful, you know ? It take 40 years sometimes from my, what is it called, bottle rack to become  . . .people say it’s so beautiful and it’s the worst compliment they can give me.

 Benedict John Browne Angell (1780-1856)

Angell's House on Stockwell Common, later known as Stockwell Park House, located at the west end of Stockwell Park Walk.

Coloured engraving, published by Robert Sayer & Co, 12th September 1792.

 Stockwell Park House, from the garden.

On part of Harris Field opposite Stockwell Common at the west end of the present Stockwell Park Walk, John Angell erected a large house. (ref. 69) The house later became known as Stockwell Park House, and the pleasure grounds attached to it extended as far as Brixton Road; they included Harris Field, Long Field and ten acres of copyhold land held of Lambeth Manor. (ref. 70) 

John Angell junior lived in the house after his father's death and stipulated in his will that either Stockwell or Crowhurst should be the chief residence of the family. (ref. 71) In 1790 his heir's widow leased the house to Thomas James of Stamford Street. (ref. 72) There is a plan of the house and grounds drawn in 1803, when part of the garden comprising the ten acres of Lambeth Manor copyhold was sold. (ref. 22)

By 1826 the house had been turned into a school; (ref. 73) it was pulled down about 1882 when Benedict and Speenham Roads were made. (ref. 74)

"The Brixton Tabernacle, Stockwell Road, was erected on the site of the front garden of Stockwell Park House. Building began in 1883 (ref. 33) and the chapel was opened on May 11, 1884. It is a dull pedimented building of red brick, with detail suggesting Jacobean influence."

Brixton Tabernacle (Demolished)

Speenham Road. 1963 (Demolished)

 Now gone, Speenham Road ran parallel to Benedict Road, adjacent to Rumsey Road, and it suffered damage from the flying bomb raid of 17 July 1944.

WHEN did Duchamp come to New York and WHY.

 

The Society Of Independent Artists formed in 1916 (after . . ) and in 1917 held the first annual exhibition, these exhibitions continured till 1944.

Why was Duchamp involved ?

"The group aimed to provide artists no matter what their backgrounds or level of professional success with the opportunity to show their work."

It was held at the Grand Central Palace (1911-1964).

"Grand Central Palace was not about architecture. It was a setting where adults could play out their fantasies under the pretense of doing business"

Prioer to that, he had submitted "Nude Descending A Staircase" to the Salon des Independents.

"In January of 1912, I started  in to make a big painting of the same subject that was a long way from being naturalistic. At first, in the sketch for Laforgue's poem, I had the nude ascending, but then I began to think that it would help my expression to have her descending. More majestic you know.

 In the meantime, an exhibition occured in february, of the movement rivalling the Cubists, the Futurists at the Bernheime Jeune Gallery.

After working on the painting for a month, in March 1912, he submitted it to the Salon des Independents

The Puteaux Cubists had a meeting and Duchamp's two brothers were sent to either rename or withdraw the painting.

"I said nothing to my brothers, but I went immediately to the show and took my painting  home in a taxi. It was a real turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that."

He went on to paint The King and Queen surrounded by Nudes at High Speed.

In July he went to Munich, began to work on his ideas for his Large Glass, soon after giving up painting forever.

Returning to Paris in September 1912, resubmitting his Nude descending a staircase to the Salon de la Section d'Or. where it was accepted for exhibition.

In 1913 worked as a clerk in the Bibliotheque Sainte Genevieve.

In February 1913 the armory show include the Nude Descending a Staircase.

"It was up in NYC from February 17 to March 15 of that year and then traveled to Chicago where it hung in the Art Institute March 24 to April 16.  From there it went back east to Boston."


Duchamp had sent

Portrait of Chess Players 1911

Sad Young Man on A Train 1911–12.

The King and Queen Surrounded by Swift Nudes

They all sold.


Chocolate Grinder

wheel

pharmacie

 

Bottle Rack

Outbreak of World War One

Left for New York in June 1915, at the suggestion of Walter Pach, an organiser of the Armory Show.

He arrived a celebrity.

Henri Pierre Roche said Duchamp "could have had his coice of of heiresses, but he prefered to play chess and live on the proceeds of the exclusive French lessons he gave for two dollars an hour."

Walter Arensberg provided him with a studio at 33 West 67th Street, in exchange for the completed Large Glass.