By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of modern essays via prime students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the entire variety of Duchamp's profession, those papers research how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp offers an illuminating version of the dynamics of play in building of inventive 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 stories and the sunshine it sheds at the greater influence of Duchamp's paintings and occupation on smooth and modern artwork, but additionally for what it finds approximately how the background of artwork itself is formed through the years via moving agendas, evolving methodologies, and new discoveries.
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Additional info for aka Marcel Duchamp: Meditations on the Identities of an Artist
Figure 3 Jacob Lawrence, Stokely Carmichael, ca. 1966. Ink, gouache, and charcoal on paper, 22 7∕16" × 14 9∕16" (57 × 37 cm). C. As this broad, generalized summary implies, conceptual and abstract explorations of identity intersected in critical ways with the history of twentieth-century portraiture. The mask, with its various implications of protection, concealment, stylization, intensification, theatricality, artifice, impersonation, and, most importantly, divided or fractured identity had rich correlations to portraiture during Duchamp’s lifetime.
32 In addition to puppets and masks, portrait dolls emerged as a curiosity. Hélène Sardeau, the wife of artist George Biddle, enjoyed a brief vogue for her long-limbed characterizations of Broadway stars. As word spread of Sardeau’s whimsical creations, celebrities and socialites besieged her with commissions. Rudolf Valentino ordered 160 portrait dolls to display in movie theaters, and Sardeau exhibited others throughout the country. ”33 The Russian-born artist Marie Vassilieff surprised the Parisian art world in the 1920s with her caricature doll portraits and stuffed heads, inspired by cubism and African art.
Was up to be photographed today,” artist Everett Shinn wrote to John Sloan in 1907 about his visit to Gertrude Käsebier’s studio just before the opening of The Eight exhibition. 11 Playacting with keen self-consciousness, he inscribed the drawing to his idol, the actress Julia Marlowe. Shinn was as obsessed with the theater as any artist of his day, but such self-presentations were hardly unusual. What everyone aimed for was “personality,” a word frequently evoked at the time, which had come to mean a colorful, original combination of attributes that attracted an audience.
aka Marcel Duchamp: Meditations on the Identities of an Artist by Anne Collins Goodyear, James W. Mcmanus