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Marcel Duchamp (World of Art)
 
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Marcel Duchamp (World of Art) (Paperback)

by Dawn Ades (Author), Neil Cox (Author)
4.0 out of 5 stars  See all reviews (1 customer review)
RRP: £8.95
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Frequently Bought Together

Marcel Duchamp (World of Art) + The Writings of Marcel Duchamp (Da Capo Paperback) + The Duchamp Effect (October Books)
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Product details

  • Paperback: 224 pages
  • Publisher: Thames & Hudson; illustrated edition edition (7 Jun 1999)
  • Language English
  • ISBN-10: 0500203229
  • ISBN-13: 978-0500203224
  • Product Dimensions: 21.1 x 15.2 x 1.6 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 395,454 in Books (See Bestsellers in Books)

    Popular in this category:

    #70 in  Books > Art, Architecture & Photography > History of Art & Architecture > Countries & Regions > United States > Cubism to Electronic Art: From 1900
  • See Complete Table of Contents

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Product Description

Amazon.co.uk Review

Marcel Duchamp (1887-1968) has, for a long time, been seen as a rather suspect anti-artist whose Dada- inspired playfulness offered nothing to the serious, committed artist or art-lover. Recently, however, his name has been dropped regularly by such contemporary luminaries as Damon Hirst (himself no stranger to controversy) and recognised as the inspiration for numerous important artists such as Andy Warhol, Jasper Johns and Robert Rauschenberg. When we return to the quality and breadth of Duchamp's century-spanning work (and the contemporaries who so admired him: Salvador Dali, Apollinaire, Man Ray, Andre Breton and Erik Satie)it becomes clear why this is so. The originally controversial Nude Descending a Staircase, No. 2 (first exhibited in 1913 at the Armory Show in New York) was a vital inspiration to the Futurists and remains a cubist classic. His Fountain (a ready-made urinal exhibited to create a debate about the very nature of art) continues to inspire. Large Glass (1915- 1923) continues to beguile. Duchamp's last work Étant Donnés (1946-1966) continues to disturb. This book, from the essential World of Art series, provides both a good basic biography of the artist and a fine overview of his works. Although not as detailed on each piece as, for example, a book such as Juan Antonio Ramirez'sDuchamp this is certainly a wonderful way into the strange world of one of the 20th century's most enigmatic and yet important artists. --Mark Thwaite


Product Description

Thirty years of research have gone into this accessible text on a complex artist. Written with the enthusiastic support of Duchampâs widow, this is one of the most original and important books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation.

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2 of 3 people found the following review helpful:
4.0 out of 5 stars A good intoduction -- let down by its overambitiousness, 3 Mar 2002
The strength of this book is also its weakness - namely, its scope and ambition. It does the basic staff on Duchamp very well (biographical detail, the survey of his work etc) - despite a few factual errors which may irritate Duchampian scholars. For example Duchamp left Paris for Munich on the 18th June 1912 not July as it says here. And in a discussion of Picabia's work 'ANE'-the writers get confused between aeroplane propellors and those of ships (the title is the clue). Also, be aware that in the diagram of the Large Glass reproduced here, the labelling for the 'malic moulds'is also in error in that the identities of the 'Policeman' and the 'Stationmaster' have been transposed. There are other errors as well which should have been picked up at the editing stage...

However these gripes apart, this book is recommended as a good introduction to the student new to Duchamp - whilst also attempting to bring some more unusual and less acknowledged interpretations to Duchamp's life and work -through comparisons with, for example, 'symbolist' artists like Johannes Thorn Prikker and Jan Toorop and the Pre-Raphaelite, Edward Burne Jones. There is also an attempt here to foreground the potent mix of Duchamp's background in Catholicism and his immersion in the vicissitudes of eroticism. Less successful is a focus on Duchamp's alleged attraction towards Rosicrucianism - which tends to gloss the fact of the artist's profound Cartesian scepticism.

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