1-2-3-DUCHAMP !

a visual analysis of Marcel Duchamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1913-1923

.
1913-1923 :  the unexpected joyful choices of a free player

.
.
1913 – New Year’s Eve in Rouen. Marcel invented a new game to play with Yvonne and Magdeleine. Not a “déchiqueter”-game but an “erratum”-game. In this game they sing haphazardly chosen notes together. Everybody is having fun and happy.


Erratum musical

(1913, Rouen) AS-256
“Erratum” is latin and means, according to the Nouveau Larousse Illustré of 1904 (which has seven parts): “indication d’une faute commise… et la correction a faire”. Is Marcel correcting a mistake in a musical way? The lyrics, straight out of the dictionary, are about “Imprimer”. The 1904 Larousse articulates it thus: “Imprimer: marquer par l’effet d’une pression, la figure d’un corps sur un autre corps.” Does this mean that a physical or psychological impression is atoned for musically? It sounds like a very therapeutic game.
as256-
And is there an anagram hidden in ERRATUM MUSICAL ?  MARCEL TU AS MURI for instance?
Or does it have to be latin too?
MARCEL MATURUIS, Marcel has grown up?
La Mariée mise a nu par ses celibataires, même : erratum musical
(1913, Rouen?) AS-281 (Never shown during his lifetime.)
In this similar musical composition little balls with a music note on them need to fall through a funnel in little traincars to make a coincidental musical composition. This can never work in actual practice because the balls will be stuck in the funnel. Whatever riddle behind this game, Marcel never uses the word funnel, “entonnoir”, but “vase”. the Larousse mentions “vase de nuit”: pisspot. Where “balls” drip out of… to make music?


1913 – In Paris Marcel works as a clerk in the Bibliotheque St-Genevieve, through his friend Picabia. He wants to quit painting, he says, and is looking for new paths.

1913 – February 17, on the Armory Show in New York, where the most modern European trends ar shown, ‘Nu descendant un escalier’ cause big fuss. The whole exhibition is received as a scandal by the American audience, the press, the president. The six works of Jacques Villon are sold anyway. Later on ‘Nu descendant un escalier’ gets sold as well.

1913 – On February 21st Suzanne Desmares separates, becomes a Duchamp again and moves to Paris.



Machine celibataire: 1°en plan et 2° en elevation
(1913, Neuilly) (Later drawn again as:)
Bachelor Apparatus: Elevation
(1931-33 Paris) AS-267
Marcel has fun with hiding erotica in his own invented geometry. Shall we play along?  We need a pair of compasses. Take a good look at the numbers on the lines. Put the pointy end of the compass on number 1, draw a piece of circle from number 2. Then put your compass on number 2, draw a piece of circle from number 3, continue this way until the last number, the 9. Behold: een man’s profile blowing at buttocks.
And if you connect some lines underneath, you get an erection. (“…en elevation”)
Voila, the same dirty Marcel from before, but healed!
  



Combat de boxe

(1913, Neuilly) AS-270
(the title probably is an anagram.) In the upper left corner we find again the abstraction of the frontal glans like we saw in ‘Moulin a cafe’ (AS-237). And we can also find a vagina. And with the same lines, used differently: a blowing-between-legs profile. In a nutshell: all known ingredients, now with ruler and compass.
And there are letters hidden as well. Find them, write them down and start puzzling. The following is possible: TOTON EXIGE: VENTILE LA CHATTE A SUZANNE.
Is that strange thing in the middle a fan? Bellows? A generator or a transformer…?
    



Roue de Bicyclette

(1913, Paris / 1916, New York / 1951, New York) AS-278
(Apparently never exibited before 1951, at Sidney Jannis Gallery, NY.)
With the analysis ‘Combat de boxe’  in our mind and eyes, we are immediately struck by the abstraction of the frontal glans. Allow yourself the effort. When we imagine the wheel gone and concetrate on the axis, then we look at…an arse. The axis of the bicycle wheel is actually an arse, the fork is the crack that leads to the vagina and the stool is the space between the thighs.
The point of view is very important here. From another point of view, or with the whole composition turned,this sculpture looks like a vagina, exactly how Marcel Duchamp used to paint/hide them. But foremost this wheel is Marcel’s beloved girl’s ass that blows us a warm fart when we caress/turn it.. Duchamp himself told us so, but at that moment we didn’t know The Keys  yet.
 



3 Stoppages-etalon

(1913-14, Paris) AS-282
An illustrated anagram once again.
Marcel Duchamp builds his visual game like this: first he has a beautiful sentence with information about his sexual desires. All letters of that sentence are used to form an anagram: a sentence that makes no sense but sounds poetic. That sentence becomes the title of a new work. It is the illustration of the anagram. And with that visual result he wants to get back to that first sentence, back to his piss-and- fart secrets.
Here he illustrated the title by making rulers that are also needles that can do mending work. Jolly.
The rulers need to return us to his secret eroticism. We need to use those rulers. All right, we’ll copy them to drawn curved lines. By simply repeating them vertically (and sometimes flipping the ruler), you draw the basic lines of an erection, and in a different order, the base lines of a vagina. Probably there is more…
Play along with Marcel and you’ll have wicked fun!
          


Pharmacie
(1914, Rouen) AS-283
Anagram? This is actually an ordinary picture puzzle like all of his cartoons of 1909: full of hidden vaginas and erections and peeing buttocks and even a male profile between woman’s legs…
Or this is really, like he says, an old picture that he found in Rouen, and Marcel Duchamp added a whole lot, without us noticing it. Because we were staring at those clots of red and yellow paint that caught our attention.
Or Duchamp drew this picture much earlier in 1905, when training as a printer in Rouen?
   

 

1914 – World War I : Marcel’s brothers and friends serve in the military, from which he is rejected because of his weak heart. Suzanne works in Paris as a nurse in a soldier’s hospital.

1914 – Marcel creates ‘La Boite de 1914’, a box (in five editions) that contains photographic reproductions of a text about “La Mariee mise au nu par ses celibataires”.
Avoir l’apprenti dans le soleil
(1914, Rouen) AS-284
From ‘La Boite de 1914′. Obviously an anagram-title. And also a ‘Roue de bicyclette’?
Put this drawing upside down and have a look through the Marcel Duchamp-glasses at the left wheel, to the axis. And bam, there is that arse again. The lines going down from there form the vagina and the other lines form Duchamp’s profile that blows, the dot (the pedals) is his eye. There also are glans-lick possibilities. And a letter S and a letter M melting together?
Then there is the illusion-addition: does he cycle uphill or away from us?
  



Broyeuse de chocolat, N°2

(1914, Paris) AS-291
Does this object even exist? Is it an anagram? After some visual analysing and searching we arrive again at Marcel’s themes: head between spread woman’s legs, nose near arse (or vagina?), masturbation, head-giving? The “wheel axis = arse” idea is applied here as well, the spokes being wind emission. Marcel’s crosswind is made by other spokes.
Furthermore we can speak of anamorfism here when we place a reflective tube in the middle against the border outside of the art work. At the top the painting mirrors beautifully as a frontal ejaculating penis, to the right as a male profile with his nose to the inside of a thigh with further away the vagina (less clear), below in the reflicting tube we look at a vagina between thighs (see ‘Sacre Coeur’ AS- 35) and the left shows us a pair of buttocks.
          



Reseaux des Stoppages-etalon

(1914, Paris) AS-292
What does the anagram tell us?
Exactly as with ‘Machine Celibataire’ (AS-267), we trace the numbers with a compass, to come to the same image: a profile with chubby bulging before an arse. The fact that the lines are drawn with the rulers of ’3 Stoppages-etalon’ seems to be a distraction trick. Funny-ingenious is that these lines illustrate the “direction of the wind”: one from the face, one from the buttocks.
The painting in the background is not just a repetition of ‘Jeune homme et jeune fille dans le printemps’. There is more to it…
  



Porte-bouteilles
(1914, Paris) AS-306
Linguistically: The French call this object an “egouttoir”, Marcel turns it into a “degouttoir”. Another French noun for it is “herisson” (hedgehog), sometimes used to name a vagina.
Formally: When we switch volume and space, like we did with the ‘Sacre coeur’ (AS-35), we again get a space between spreaded legs. For the first time Duchamp had everything he desired in one object without having to do anything to obtain it: a ready-made!
And as a bonus he gets about fifty penises in erection.
 



GLISSIERE contenant un MOULIN a eau (en metaux voisins)

(1913-1915, Paris) AS-327
Defenitely an anagram. In the oeuvre of Marcel Duchamp there are many mills and other turning things.
But he keeps very silent about the windmill. Or the fan. In his hidden drawings we see how the blowing at urine, the wrinkling waves of urine on the table is being done with the help of household objects: the wind vane, the “girouette”, or with a fan (the first electric ones). This work deals with the wind mill.
Why is this work in glass and with hinges to the wall? Because we need the shadow image of it. And then we see two demi circles: a pair of buttocks. And in between those buttocks, if looking from the right angle, is his famous ‘Moulin a eau’, which is not a water mill but a wind mill. A fan, blowing away urine. We can call it a urine mill, or rather… a watermill.
Ah Marcel, le malin des mots!
  
The original meaning behind the anagram should confirm this:
MON VENTILATEUR (UN NILI) ATOMISE NOS EAUX UNIS ENCAGE ? or
(A MOI) UN VENTILATEUR NN ATOMISE NOS EAUX UNIS EN GICLES ??? or…????
Allez, les Francais, jouez! Jouez avec votre Marcel!



9 Moules Malic

(1914-15, Paris) AS-328
Again an anagram at its base. Does the 9 got any importance as a number? Or rather as the letters N, E, U and F.
Visually it is an ordinary picture game like ‘Yvonne et Magdeleine déchiquetées’ with also the same results: a profile with a nose in a vagina, finger in (on?) cunt, face under buttocks receiving urine, a giant erection, the licking at legs, the being masturbated, a glans is being licked, a gigantic vagina, the giving head, a male profile blowing in front of an anus blowing.
Should there be 9 pleasures?
    

 

1915 – June 15th, Marcel Duchamp escapes the war and arrives in New York. He immediately meets Louise and Walter Arensberg, who become his patrons. Through them Marcel gets to know the New York art scene: Man Ray en Alfred Stieglitz amongst others.

Walter Arensberg , son of a rich metal business man is an art collector, critic and poet. He and his wife, whose father made a fortune in the textile business, are specialized in the unraveling of cryptograms, anagrams and acrostichons in the texts of 16th century-authors (Bacon and Shakespeare).

1915 – Other “Puteaux-members” come to New York: Gleizes, Picabia and Brancusi. Also the painter Jean Crotti who in Paris was a neighbour and co-exhibitor of Duchamp. Crotti brought along wife Yvonne Chastel.
In advance of a broken arm
(1915, New York) AS-332
The second ready-made. With a French or English anagram? This typically American snow-shovel hangs by a thread and turns around its axis vertically. Take pictures of this turning movement, many pictures layered on top of each otherand you will see the crack of the buttocks on the print. A four-dimensional piece of art! Ready-made again.

 

1916 – Marcel Duchamp falls in love with the actress Beatrice Wood. Shortly after the work ‘Underwood’ appears. It is merely the cover of an Underwood-typewriter presented on a pole so that it appears to be a skirt. This was the easiest way for Duchamp to get under Wood’s skirt.

1916 – As a reaction to the absurdity of the war the Dada-movement arises in European artistic-literary circles.

1916 – In New York Marcel Duchamp is one of the co-founders of the Society of Independent Artists that will organise a yearly exhibition and operates without an admission commitee, in imitation of the Paris Salon des Independants. Yet the work ‘Fountain’ of R.Mutt is refused.


Fountain

(1917, New York) AS-345
To visually analyse Duchamps most famous ready-made, ‘Fountain’ of R.Mutt has become a simple task by now. Again it is Marcel’s favourite form: the spreaded chubby girl’s legs! Exactly like the ‘Sacre Coeur’ (AS-35) (actually the very first ready-made). Coincidental as it may seem, in this urinal everything fits, even some drops falling out of her crotch.
 
Probably the title is not an anagram but ther is a fun game to be played with R.MUTT. On a superficial level, this is a word game with the name of the producer: MOTT Works. But we have to play the ‘Urine and farts’-game of Marcel. When we pronounce R.MUTT letter by letter in French we get more letters to add to the puzzle: ER POINT EM U TE TE and then we are able to write PETE ET URINE TOTEM .



Porte-chapeaux

(1917, New York) AS-351
We look at that wooden thing on its rope stuck to the ceiling, but we need to look at its shadow. And then we can (sometimes) see some sort of a spider. “Very good!” Duchamp says, “write it down.” But it is actually an arse. And sometimes a vagina…


1918 – Marcel Duchamp teaches French for a couples of years to the three sisters Stettheimer, from the New York upper-class. Their mother leads an Epicurean life and many artists frequent her salons. The oldest daughter Carrie, 49 years old at the time, made a very big dollhouse. Several artists gave her a miniature version of one of their works to be put in the dollhouse.
Marcel makes a…


Nu descendant un escalier (Dollhouse version)

(1918, New York) AS-359
Very interesting little work for this visual analysis as Marcel needs to be very concise. All the erotic findings of the N°2 (AS-242) can be found here as well! And different details are easier to recognise: the whirligig (toton), the windvane (girouette), the acrobatics, a mirror on a chair, a descending spiral staircase, a carroussel?, the urine pond,… this is where Marcel betrays his true self the most.
 

1918 – September 18, Marcel Duchamp arrives in Buenos Aires. Once more to escape from the war, America was short in young men. Or did someone discover the anus in “Hat rack”? Marcel hides, far away! Yvonne Chastel, who divorced Jean Crotti, travels along. Marcel wants to stay for two years and concentrate on the chess game.

1918 – October 7, Cannes, brother Raymond Duchamp-Villon dies of blood poisoning, caused by an infection he caught while volunteering as a war nurse.

1918 – November: end of World War I.

1919 – In March Yvonne Chastel leaves for liberated Paris.
On April 14 Suzanne Duchamp marries Jean Crotti.

1919 – June 22nd, Marcel leaves Buenos Aires for Paris and joins the Dada-movement. Obviously he did not only play chess in Argentina because he has many ideas for visual games.

 

L.H.O.O.Q.
(1919, Paris) AS-369
A game like R.MUTT, but without the puzzle-part. The letters L-H-O-O-Q need to be pronounced separately in French: EL-ASH-O-O-QU. You immediately hit upon ELLE A CHAUD AU CUL. Great fun! That is what people said in those days too: “Oh Marcel, you naughty boy!”
It is suspicious though that Marcel gives away the solution to his riddle just like that. The chess player offers us a pawn, so that we would think we are in on his game. That we’re winning. Something lies behind that. It would be better to call the letter H an “Ah aspire” because there are many sorts of H in French. Then the result is EL-AH-ASPIRE-O-O-QU. And ELLE A ASPIRE EAU AU CUL or IL A ASPIRE EAU AU CUL is something that perfectly fits Marcel’s game.
Maybe our French is wrong. But when it is not hidden in the language, we need to investigate more thoroughly the visual aspect. Let us put on Marcel’s glasses again and have a good look at the lines of La Jaconda until we find what we like to see: the vagina, up close in between the thighs, underneath a lifted skirt… or a finger in the vagina… a nose close to the vagina… an erection… and masturbation… Who would have guessed?
And then another nice visual detail: the drawn on moustache, which looks like a pair of buttocks, and that beard which looks like how we would draw the act of blowing. So again we arrive at…blowing at buttocks. Eh-oui, elle a chaud au cul.
       

 

1919 – On December 3rd Marcel Duchamp pays his dentist Daniel Tzanck with a self-designed fake check. This dentist is an art collector and artists are allowed to pay in kind.

1920 – Marcel Duchamp returns to New York, in his suitcase ’50cc Air de Paris,’ an “ampoule” in his favourite form. Now whose air could it be?

1920 – The “Grand Verre” is gathering dust. Marcel decides to finish it and starts to work furiously.

1920 – Marcel Duchamp together with Kaderine Dreier and Man Ray founds the ‘Societe Anonyme Inc.’ , its goal to collect representative modern art. During the next 20 years the ‘Societe Anonyme Inc’ will organise no less than 84 exhibitions.


Belle Haleine: eau de Voilette

(1921, New York) AS-386, AS-388
Belle Haleine is a product, a mouth wash, something that gives you fresh breath.
On the bottle of Duchamp is written “Eau de Voilette”. Not ” Eau de Toilette” like on conventional perfumes, nor “Eau de Violette”. What could this water be for Marcel, who loves to sip and breathe urine since his youth? Is there urine in the bottle? Is that Marcel’s fresh mouth wash?
“Eau de Voilette” could possibly be a homophonic pun: “ote voilette”. “Lift the veil”, like an order from the toton in a game with Suzanne, in the old days? The invented name Rrose Selavy most probably hides an order from the toton to urinate (now with American accent): “Arrose c’est l’avis”. On the perfume label Duchamp only puts the initials of Rrose Selavy… RS… Hm, say that again: ”Arse!”
The shape of the bottle in its package looks like a vagina between thighs… and turned upside down a frontal glans?

 

1921 – Marcel Duchamp gives the bottle ‘Belle Haleine’ to Yvonne Chastel. Is it a coincidence that the first three letters and the last three of her name YVO and TEL can compose the word VOYLET?


Why not sneeze, Rose Selavy?

(1921, New York) AS-391
Because suddenly there is only one R in Rose Selavy this must be an anagram (for which only one R is necessary). Maybe ZERO SWEETNESS, ONLY HEAVY?
Visually the erotic desires of Marcel are well hidden. But if we tilt this cage on its longest side… the middle, vertical lines and the wooden sticks left and right show a beautiful variation of the ever-returning “vagina between the thighs”-image. The cuttlebone can be a tongue or a penis, when flat or tilted…

 

WANTED: $2,000 REWARD
(1923, New York) AS-403
Self-portrait as a wanted criminal in the lurk? Why? The solution to the anagram can be: DD NR 0002, WEE WA$ ART. Or “de dato 1902, urine was art.” And it is correct because Marcel Duchamp started his oeuvre in 1902 with ‘Jeune fille dormante’ hiding for the first time his urine pleasure in an artisitic way.


1923 – Kaderine Dreier buys the not yet finished ‘Grand verre’ for 2000 dollar. Was ‘Wanted: 2000 dollar reward’ the ticket? Or maybe it is cynicism on the part of Duchamp because Dreyer doesn’t have the money, and pays in writing.


La mariee mise a nu par ses celibataires, meme
(1915-23, New York) AS-404
Also called ‘Grand verre’. This is a very difficult visual puzzle. Duchamp explains his entire youth, in a new combination of old works, who in themselves were explanations of his secret pleasures. He started this puzzle job in 1912 in Munich. Maybe it was part of the therapy and he kept it going therapeutically for another 10 years. This kind of riddle isn’t easily solved.
In the upper part to the left we see fragments of ‘Mariée’: the erotic games, the acrobatics. Then a big brown cloud sprouts from it. A fart? In it we see three white fields: diapers on a clothesline or a basement window with backlight? Duchamp called it “Top inscription”. So there is a title? Text? The shape of the cloud makes us think back of the text that was to be found in ‘Among Apple Trees’ (AS-103), and this was also written in such a bizarre cloud shape: J’AIME SUZANNE. Is this the writing? As a reply to the homophonic game in the title “La mariee…, m’aime”? The ‘nine shots’ to the right of it seem a non-existing star sign. Is this a compass game without numbers?
In the lower part, the well-known series of erotic games of ’9 Moules malic’ (Nine shots?), in combination with the water mill/fan. Then a series of spinning sieves that might picture the spinning ‘toton’. Next to that maybe an abstraction of the ‘Girouette,’ or could it be a carrousel? Or some hypnosis? Duchamp called it ‘Oculist witness’. Next to that the ‘Broyeuse de chocolat’, or again his series of games. A combination of the sieves and the “Broyeuse” shows a big face with closed eyes near a vagina. Etc…
      
There is a possible connection between the story on the glass plates and the physical (male) body in the space of the art work. When a man stands behind it, the ’9 Moules malic’ are at the height of his crotch. Should he look up, he watches in between the female legs of ‘Mariee’.
There must be more reasons why this work is transparent.
In any case the anagram hides “MARCEL SE MASTURBE”.
With the rest of the letters one can, keeping Marcel Duchamp’s interests in mind, make “PISSE”. A complete solution could be:
AIE PISSE, L’AMIE ANIME MARCEL A SE MASTURBER or
MARIE PISSA EN AMIE LIEE, MARCEL SE MASTURBA, referring to Mary Reynolds with whom he had a loose affair? Yet this title was already written in 1913…
LA MARIEE AIE PISSE, MARCEL ANIME SE MASTURBE …alors?
 
By quitting this “constant work”, Marcel Duchamp ends an important period in his life.

.
.
.
.
POSSIBLE SCENARIO part 3

the unexpected joyful choices of the free player

End of 1912, Marcel Duchamp has found freedom from his own incestuous behaviour, and lives in Paris. Beginning of 1913, Suzanne Duchamp has found freedom from her marital bonds, and comes to live in Paris. Nothing is known about their relationship at that time. But in the works Suzanne paints, erotica is hidden as well (see analysis in Les Duchamps). Marcel continues anyway to hide his sexual desires. It has become a principal way of living, a challenge to himself as an artist.

Marcel is having the utmost fun. This is what he likes best: playing with puzzles. And creating puzzles, anagrams and visual games in this very rational if-this-then-that way. First through mathematical constructions, together with an incomprehensible text that works as a diversion. Then through bringing together ordinary everyday things, with explanations that can be interpreted in very different ways. And it is always about his own, very personal, intimate desire for urine-and-farts.
This is the way Marcel Duchamp in 1913 begins to play a really sublime game of chess with us. A chess player hopes his opponent does not see what he is doing. It is the art of the hidden showing. Not only the retina has to see, also the mind. Duchamp leaves the “retinal” art to welcome a “mental” art. Via this visual thinking or rather mental looking he wants to come to a four-dimensional art, in which time plays an important role. The seeing by investigating and puzzling needs to become a new medium in art.

Marcel Duchamp could not actually promote this because then he would have to give away his dirty, secret pleasures and his hidden past, putting himself and his family to shame. So he shut up. He silently made up joyful, visual mind games that were far more comfortable to produce than the painted puzzles. His main camouflage tactic consisted of a continuous change in the type of games. Or he would change the rules. Suzanne probably could keep up; she was wearing the same spectacles after all.

When Kasimir Malevitsj shows his black square in 1913 there is no painting that is more extreme. Marcel Duchamp is then working on something that surpasses the artistic concept of that time: a bicycle wheel on a stool?! And still something so natural, so ‘to the point’ viewed through Marcel’s glasses. Simply an anus and a fart, and even a vagina, and… an erection. A work of genius! But Marcel keeps mum, showing only his thin smile. The Parisian art theoretics, who in that period gain importance, did not really know what to make of it. Duchamp was as pleased with the negative comments as with the positive. It was the best diversion. He even counted on it, when plotting his next move in the big game of chess.
To send the connoisseurs into even muddier water. What fun!
But all that speculation was also dangerous. He used to hide himself among the cubists. Now all the attention is on him. Would the critics notice that the titles were anagrams? Would they suspect visual obscenities? And to have his sister so near… Hide! But how and where? World War I will save him.

Like many other artists Marcel Duchamp escapes to America. He is separated from Suzanne in a healthy way, and he is away from the Parisian critics. Duchamp decides to stay in America. Because in this vast English-spoken area he can play with French words undisturbedly. No one immediately looks for a double meaning in French. First his words are being translated into English, and only then they are investigated. One thing you don’t do with Duchamp is to translate. On the other hand Marcel used to encourage translation, precisely so he wouldn’t get caught. Smart move.

Maybe the Arensbergs were in on him. Those word game specialists may have understood one and another when they viewed ‘Nu descendant un escalier’ at the Armory Show of 1913. When Duchamp arrives in New York on June 15, 1915, he is introduced immediately to the Arensbergs. Maybe Duchamp confessed, about incest, obsessions, scandal and healing. And explained to them his artistic resolution to keep on hiding erotica in his work. Maybe that is why the Arensbergs found themselves in the very select group of initiates, who kept their mouths shut? Maybe that is what made the Arensbergs decide to be Duchamp’s patrons? In exchange for his creations? Who knows? It was a good turn for Marcel. He planned to make a big work about his sexual past, a “big glass” piece. An opportunist for the full 200%. You have to be, as a chess player.

In any case New York, big and vibrant, was the ideal place for Duchamp. He could be anonymous, frequented only the wealthy circles and enjoyed their open minds. Other than that, he was completely unattached. It must have given him such a mental kick, when in that big shop window he sees a urinal. The perfect Duchamp, readily made. Maybe a bit too “straight”? Revealing his sexual preferences: scandalous!
The use of a fake name, then being refused, plus the controversy surrounding it, have overshadowed this scandal. Always coming up with fun strategies…
At one point Marcel Duchamp hides himself in a woman. It was a funny diversion when the idea for his vile “perfume” comes into being. Nobody saw “urine & farts” in it.

Every once in a while Marcel meets a real woman. They obviously keep silent about his strange desires. Probably the women he met weren’t even aware of the art of hiding that was connected to those desires. Only Suzanne knew about them. Suzanne who wasn’t there. But in spite of the distance Marcel keeps her close to his heart. And vice versa. At least until her marriage to Jean Crotti in 1919. After that they share an normal family bond. In the meantime, his ‘Grand verre’, a tribute to the passionate love between Marcel and Suzanne, has been gathering dust. Marcel is tired of keeping up the fun in something that no longer exists and in 1923 he considers the uncompleted work completed.
He is 36 years old, and ready for some serious games.

.
.
.
.
.

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
Ref.
: Gorik Lindemans (© 2012)
1913-1923 :  the unexpected joyful choices of the free player

1-2-3-DUCHAMP! a visual analysis of Marcel Duchamp
onetwothreeduchamp.wordpress.com

.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s