aka Marcel Duchamp: Meditations on the Identities of an by Anne Collins Goodyear, James W. Mcmanus

By Anne Collins Goodyear, James W. Mcmanus

aka Marcel Duchamp is an anthology of modern essays by way of prime students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the entire variety of Duchamp's occupation, those papers study 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 development of creative id and legacy, along with either own volition and contributions made through fellow artists, critics, and historians. This quantity is not just vital for its contributions to Duchamp stories and the sunshine it sheds at the higher influence of Duchamp's paintings and occupation on sleek and modern paintings, but in addition for what it unearths approximately how the heritage of artwork itself is formed over the years by way of moving agendas, evolving methodologies, and new discoveries.

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In 1910, de Zayas visited Paris, where his friendship with Picasso introduced him to cubist and primitive stylization of the figure. 23 Stieglitz exhibited de Zayas’s abstract portraits at his 291 galleries in 1913 and published photogravures of them in Camera Work the following year. Numerous experiments with symbolic and abstract portraiture followed. De Zayas’s abstractions of personality influenced Francis Picabia, who created his famous series of “machine portraits” for the American journal 291.

The Portrait Gallery also owns Clara Tice’s similar pencil portrait of Vanity Fair editor Frank Crowninshield constructed from slender female nudes. 26 This drawing reflects many of the interests in the Arensberg circle and was originally thought to date from the early 1920s before John Covert closed down his studio. Although it references that time period, the drawing now seems more likely to date from around 1950. For comparative drawings, see Leo G. Mazow, John Covert Rediscovered (University Park, PA: Palmer Museum of Art, Pennsylvania State University, 2003), 72–73.

12 Postwar anxieties and new concepts of identity formation ratcheted up the need for self-invention. ”13 In other words, the artist or author, scientist or socialite—along with the performer—had to assume the mask of his constructed persona. So do we see this element of self-conscious, theatrical personality in portraiture after the turn of the century? Not always. Duchamp himself, for all his experiments with and performance of different identities, was famous for his detachment. But we can argue that artists often did search for that glitter, that flair, that singular heightened element.

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