By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of modern essays by way of best students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the entire diversity of Duchamp's profession, those papers study how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of inventive identification and legacy, which include either own volition and contributions made through fellow artists, critics, and historians. This quantity is not just very important for its contributions to Duchamp experiences and the sunshine it sheds at the greater influence of Duchamp's paintings and occupation on sleek and modern paintings, but in addition for what it finds approximately how the historical past of paintings itself is formed through the years by means of transferring agendas, evolving methodologies, and new discoveries.
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Additional info for aka Marcel Duchamp: Meditations on the Identities of an Artist
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.
5 × 13 cm). C. The artifice and exaggerated theatricality of masks made for the stage naturally attracted Crowninshield’s interests. 29 He particularly admired the masks by W. T. 30 In addition to wildly comic and monstrous faces, Benda produced, for the stage or promotional purposes, portrait masks, including likenesses of Ginger Rogers, Katherine Hepburn, Merle Oberon, and Myrna Loy (Figure 2). ”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.
2 With Duchamp, many veils meaningfully obstruct our access to identity. Raising important questions regarding the role of the mask in portraiture of the twentieth century, Wendy Wicks Reaves considers its use by a broad range of experimental artists to negotiate the complex dynamics of identity during Duchamp’s lifetime. 3 Sudhalter, seeing Duchamp operate behind the mysterious Rrose Sélavy, investigates the prospect that Rrose’s raison d’être has connections with Tristan Tzara’s aborted efforts to publish Dadaglobe.