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Marcel Duchamp Research Paper

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Dada is an attitude and style that is interested in irrationality and calls attention to the order and problems of the society. Marcel Duchamp pioneered Dadaism, which started out in Zurich in 1910s with the focus on issues of change and developed its influence worldwide with most representational cities as New York and Berlin. Thierry de Duve, the author of “pictorial nominalism: on Marcel Duchamp's passage from painting to the readymade ” was born in 1944 in Belgium. He is a philosopher, critic, and historian of art (Duve, Pvi) focusing on “the questions modern art poses to philosophical aesthetic”. Pictorial Nominalism is the first book published by Thierry, his later more renowned publications include “Kant after Duchamp” and “Clement Greenberg …show more content…

According to Duve, Duchamp was born in a family of artists. Being among a family of painters, Duchamp got exposures to cubism in 1911, and started his own exploration of it. His early attempts of cubism include The Sonata, oil which was produced in 1911 as a portrait of the females in his family: His favorite sister, Suzanne was sitting in front of Yvonne, who was playing the piano, and Magdeleine, who was on the violin. Their mother was standing in the background as an audience of this family musical. Duchamp had developed his system and style of cubism that depicts the movement of objects in time from his photography background. However, Duve demonstrated that, since Duchamp’s “interest in Futurism was aroused only by Balla's Dog on a Leash” which was not exhibited until February 1912, which was after the creation of the Nude Descending a Staircase No. 2 (Duve, p21). From this, Duve inferred that Duchamp was very confident about his painting and expected to receive recognition for it as he knew that his artistic practices was in line with the most cutting edge avant garde …show more content…

Hence, it was precisely this passionate and smart young man with great confidence and favorable family background to exhibit Nude at the Salon des Independants whose confidence got crushed after being rejected by the Salon des Independants, and was later notorious for his scandalous painting. The initial huge failure had left him a trauma with his artist career, and had caused him to “avoid any overly direct confrontation with Braque and Picasso, preferring instead the easier company of Metz inger or Princet” (Duve, p21). Consequently, this had resulted in Marcel Duchamp’s antagonistic psychology and his quest for “revenge”. As stated by Duve, duchamp’s painting’s psychological compensation of his desire to “be absolved of his failure in relation to the history of art” was comparable with Freud's dream’s psychological compensation of “his desire to be found innocent of his failure with Irma”. Duchamp chose to go to Munich for the purpose of staying away from the competitions and trauma, where he was able to “give free rein to” his own ideology of artistic accomplishment (Duve, P24), and it was with this foreshadowing that Duve introduced the choices Duchamp made later on that changed the history of modern

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