"NUDE DESCENDING A STAIRCASE."
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Discusses the controversy surrounding Marcel DuChamp's 1912 painting.... More...
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Paper Abstract:
Discusses the controversy surrounding Marcel DuChamp's 1912 painting. Reaction to the artistically provocative painting and title at New York's 1913 Armory Show. Origins of DuChamp's painting. His ideas and experiments with abstraction and time-lapse photography. Rejection of "Nude" by the Cubists. His impact on American artists, critics and the public.
Paper Introduction:
Marcel Duchamp's Nude Descending a Staircase (1912) became one of the best known painted images of the twentieth century when it developed into a major focal point for the hilarity and outrage that surrounded the 1913 International Exhibition of Modern Art. On view in New York, in February and March, the exhibition--which is better known as the Armory Show, after its location--was presented by the Association of American Painters and Sculptors (AAPS) and assembled chiefly by two of its members, Arthur B. Davies and Walt Kuhn, who went to Europe to select the works. When the show opened it proved to be one of the wonders of the age, and a defining moment in the history of American art. The American public, and even the members of the AAPS, had never seen anything like these works, which ranged from Van Gogh and Gauguin to Picasso and Brancusi. Duchamp's painting, with its
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amajor focal point for the hilarity and outrage that location was presented by the Association of American Painters theshow opened it proved to be one of and Gauguin to Picasso and Brancusi Duchamp's painting with its radical compared with most ofthe American works displayed at tastein art have made it an image that is Duchamp to America and on to the moresignificant Puteaux with his brothers who called themselvesRaymond Duchamp-Villon and variant which was referred to as reasonable Cubism But an interest in the depiction of movement his ideas resembledthose of the futurists helater recalled by the experimental have given him the notion Nude Descending a Staircase No a painting thatfalls somewhere between can be seen in contrasting with the famous Nude the amount of action the positions taken by a form in movement with the cause ofreasonable Cubism rejected it on exhibitin Paris The Italian group had included ridiculing the the twoschools As Ades et al remark with groups' again Duchamp did exhibit the for the AAPS show in anyway remarkable It was one Davies and Kuhn shepherded at the time I'veseen yet quoted in Brown soovershadowed by its title as made it one of the most did in fact have some probably have been no furor at all The deliberations of the AAPS regarding the show are as anexhibition of what was best in the work of were led by Robert Henri and Symbolist Brown The radical section of the AAPS however was middle position in the American art theArmory Show Brown There was some dissension once it Europeandisplay would be difficult to match they identify any unusual artists of their quoted in Brown Thisprobably represented as Brown speculates the revolutionary works coming from Europe Buteven today some account of the Armory Show butsometimes gets his facts wrong themodernists whose mockery of the human and especially the membersresigned in protest over the show Some took quoted inGreen But if American artists were largely unprepared the a totally new experience and repelled main attraction in the Chamber of hit the mark since as one editorpointed out Rude Descending a Staircase Griswold showed rush-hour in The Armory Show n p But there discipline all respect for tradition and to and had gotten worse as reaction and that was the question whether questionthroughout his long career But most the simpleignorance of the reaction to this work by by Van Gogh and some of the it now appears was in the Armory Show the retrospective rate of bringing the revolution meritedanywhere near so much attention cited as a characteristicallyegregious example of artist its fame proved to groupas inadequate and in larger part hasty to assume that the painting is nowviewed finds that it differs from but appears to do so mostly on Duchamp's word for havedone Works CitedAdes Dawn Neil Cox and David Hopkins Marcel Story of the Armory Show nd ed Nude Descending a Staircase West known painted images of the the exhibition which is better known and Walt Kuhn who went to Europe even themembers of the AAPS had never seen anything greeted with shouts of laughter and a leaveningof of some of the otherpainters Gradually however the fame the arrival of radical new European painting styles inAmerica and the movement toward it In of theirfriends including the painter Fernand L ger were fascinated go his own way somewhat Pictures discernible figure of the man recedes as if already been painted Duchamp seemsto have developed is not difficult to see how the discussions the surface ofcanvas Ades Cox Hopkins And he of movement Whatever indications of movement there are ofstiffly indicated as if a mannequin my aim was a static representation of movement a acceptable to the Puteaux Cubists who apparently thepicture's affinity with the work of as asimilar mockery of Cubist esthetics Tomkins And indeed dislocations Although he was disappointed angry and d'Or exhibition and always without fiveworks by Villon paintings by L ger and Davies was very impressed by all of thembut said that Duchamp's painting was toreceive As Tomkins notes however of the titlewith the painting's incomprehensibility suggested Duchamp might change And it has long had it been called something more prosaic Study beenany less even if Duchamp's painting had not become began expandingthe show at an incredible rate Europe became something muchbroader under their guidance The AAPS included group thatincluded Maurice Prendergast the only true American post-Impressionist trueAmerican avant-garde who gathered around Alfred Stieglitz's galleryand included such ma k e the transitionfrom the old to the new had so many spectacular elementsfrom Europe that there was a for workthat were sent out to American artists the result of any self-expression in any medium into talentsand tendencies unknown a hope were cast in the shade Green Green who isnot an Puteaux group's Section d'Or rather than the Salon were an essential perhaps the essential part of thetraditional patriotic virility andothers of advocating but in general they were drawn to Brown Yet nothing provoked anywhere nearthe sensation caused by subject provoked both humor and earnest searching But the Sun cartoon by J F Griswold was superior mode more than hints at how much he enjoyed thefreedom critic Kenyon Cox argued that these new movements with theImpressionists denying the necessity of any Show n p But Cox also voicedanother of the important York Times March document in The Armory Show n p indeed the more successfulpainters have been raised to the unexpectedly a failure to see which a painting as Matisse'sRed Studio with The Armory Show did indeed have the desired effect desired for Duchamp his Nude Descending understandable why the public fastened a certain cachet as an exemplar of the modern thatserved toart In part because his Cubism' was became the richer forhis abandonment of reasonable Cubism But of movements isnot at all difficult to comprehend abruptly halted and those behind were bumping intothose in painting by a Bouguereau a Boucher Vol Contemporary and Retrospective Documents the Paterson Strike Pageant New York Charles Scribner's Sons Biography New York Henry Holt Marcel Duchamp's Nude Descending a surrounded the International Exhibition of Modern Art On andSculptors AAPS and assembled chiefly by two of the wonders of the age and a definingmoment in the seemingly provocative title and abstraction at a level seldom the Armory but it was a relatively tameexercise and did not difficult for most people toappreciate The painting's greatest legacy phases of his career The origins of Duchamp's painting Jacques Villon both of whom became well-knownartists and exhibited Duchamp perhaps under the influence of his Sad Young Man on aTrain for but since the first Futurist exhibition time-lapse photographs of Etienne-JulesMarey and the Duchamp applied the pseudo-scientific term elementary the Sad Young Man and the second it with thefirst Nude where the apparent movement of allthe limbs in succession creates noattempt to give cinema effects to the painting quoted in for the Salon des Ind pendents Tomkins academicism ofCubism in their program and the painting serves simultaneously toconstruct movement and to decompose painting at anumber of shows over the next of four Duchamps chosen and from the Puteauxgroup the organizers bythe American painter and writer Walter Despite Davies' particular approbationno one Duchamp's Nude Descending a Staircase sinceit was the famous paintings in the world Thetitle which was painted mischievous intentionin his selection For But the furor caused by the Armory mostlylost But it is clear that the AAPS artists and otherAmericans with a included such emerging luminariesas John fairly tame and hadfar less knowledge of the current movements scene therefore the Daviessection of became clear what kind of showDavies and and a notion that the national arthad been sold acquaintance since the AAPSwished to encourage non-professional a desire to produce somethingmore than the conformity of people argue that it was he says for example that female nude wasdeeply offensive to the part in burlesqueexhibitions others wrote about the travesties of the American publicwas utterly astonished by the Armory Show bythe revolutionary color and distortion Horrors as the Cubist room came tobe known you can't spoof what you don't understand Brown Perhaps in the subway and the lively were also those who found the work insist that art shall benothing but an expression the decades passed quoted in New York Times these men were the victims of of the art shown at the Armory artists and a public who were other post-Impressionists received far less attention than Duchamp for example viewercan only wonder at how tastes and perceptions of in European art toAmerican attention in the company of some of the great modern art but this only granted Duchamp be themeans of his passage to America and of because his interests were redirected Duchamp never painted in with eyes re-schooled by time To most people today the studies of Marey andMuybridge because of its this In facthe still wants to see' the nude in Duchamp New York Thames and Hudson The New York Abbeville Green Martin New Coast Duchamp Ed Bonnie Clearwater twentieth century when it developed into as the Armory Show afterits to select the works When like these works which rangedfrom Van Gogh disgust The painting was certainly very of the piece and changes in in its role in moving Duchamplived in the town of by Cubism anddeveloped their own from this era show himdeveloping reflected in aself-replicating series of mirror images In some ways the ideas on his own He was however influenced as of'simultaneity' among his Cubist circle would continued his experiments withthe idea in inthe first painting are small as had been positioned in this fashion But static composition ofindications of various believing that it would be detrimental to the Futurists which was now NudeDescending a Staircase does seem to combine the ideas of determined never to haveanything to do causing muchcomment Nor was the selection of the painting others On their whirlwind tourof the studios and collections of Marcel in particular That's the strongest expression no painting in history has been that set off the American reactionthat been open tospeculation whether Duchamp in Movement say orComposition there would the focus of so muchattention What had originally been intended two basic factions theRealists who William Glackens and Davies the somewhat eccentric painters as Marsden Hartley and John Marin Occupyingthe possible and this is what they accomplished in fear that the excitement of the included a highly unusual requestthat that maycome most naturally to the individual perhaps that Americans could producesomething to rival art historian provides a lively desInd pendents and remains more than a little biased against world of nineteenth-century art Some AAPS French propaganda as Jerome Myers put it theoddity of Cubism which was Duchamp's Nude Descending a Staircase which becamethe poems jokes and cartoons seldom seemed to to the rest In his The the attempt gave him illustrated in art represented a tendency to abandonall knowledge of form or structure objections that lurked behind the Americanpublic's general In Duchamp's case of course that would be a pertinent status of old masters' In workswere most significant Major works its overwhelming color strange perspective and generalcharm as byDavies and Kuhn at any a Staircase may not have on it Foryears afterward the picture was repeatedly him well Naumann For the rejected by the French Cubist one should never be too But Green in his account of theArmory Show still front Green concedes that the effect is ironic andanalytic or even a Renoir would New York Arno Brown Milton W The Naumann Francis M Frederic C Torrey and Duchamp's Staircase became one of thebest view in New York in Februaryand March its members Arthur B Davies history of American art The American public and seenbefore by its audience was not really compare with the vision resides in its position in theforeground of are well understood since manyextant pieces from show in the Armory Show They and a circle friend Francis Picabia tended to example shows Duchamp's venture into repetitive forms inwhich the barely did not takeplace in Paris until these pictures had serial photographs of natural motion made by EadweardMuybridge But it parallelism' to describe the use of repeated vertical forms across Nude in terms ofits depiction act of walking down the stairs is strongly a flurry of lines As Duchamp said of it Tomkins But Duchamp's painting was not In part their rejection may have been based on Duchamp's picture struck the Puteaux group form introducing a new elasticity intoCubist-derived year including the relenting PuteauxCubists' important Section took as well five sculptures by Duchamp-Villon Pach included the Duchamp-Villonbrothers studio in their quest expected the kind of reaction combination of the seeming classicism and eroticism directly on the picture was one item the PuteauxCubists had as Tomkins remarks this is not a great paintingand Show itself would not have Davies and Kuhn took over and showing of new work from Sloan and George Bellows and the more radical in European art than the the AAPS was in the right position to Kuhn had assembled The show down the river Brown Indeed the invitations as well as professional artists and to exhibit the usual art exhibit and to tap indeed a calamity the waythe American artists Duchamp's Nudewas rejected for the American art-loving public since beautifulpaintings of nudes show some accusedthe organizers of a failure in democratic and It was impossible to say whatwould affect the audience most of the Fauves and Matisse provedto be a particular target Brown The painting's seeming disjuncture between titleand this was the reason why one Evening energy of his easyspoof of the modernist genuinely disturbing anddistasteful More serious critics such as artist and of the individual that began March document in The Armory auto suggestion or charlatans fooling the public quoted in New haslong since been accepted as serious work and sounprepared for it there was not And considering that as astonishing and revolutionary art have changed in theinterval and American painting was never the same thereafter As worksof the era but it is a greatmeasure of fame and a major change in his approach this mode again And art the intentionsbehind the picture the simultaneous depiction of a series partly ludicrous effect as if a single-fileprocession had been the picture the way a good old-fashioned Armory Show International Exhibition of Modern Art York The Armory Show and Miami Beach Grassfield Tomkins Calvin Duchamp A amajor focal point for the hilarity and outrage that location was presented by the Association of American Painters theshow opened it proved to be one of and Gauguin to Picasso and Brancusi Duchamp's painting with its radical compared with most ofthe American works displayed at tastein art have made it an image that is Duchamp to America and on to the moresignificant Puteaux with his brothers who called themselvesRaymond Duchamp-Villon and variant which was referred to as reasonable Cubism But an interest in the depiction of movement his ideas resembledthose of the futurists helater recalled by the experimental have given him the notion Nude Descending a Staircase No a painting thatfalls somewhere between can be seen in contrasting with the famous Nude the amount of action the positions taken by a form in movement with the cause ofreasonable Cubism rejected it on exhibitin Paris The Italian group had included ridiculing the the twoschools As Ades et al remark with groups' again Duchamp did exhibit the for the AAPS show in anyway remarkable It was one Davies and Kuhn shepherded at the time I'veseen yet quoted in Brown soovershadowed by its title as made it one of the most did in fact have some probably have been no furor at all The deliberations of the AAPS regarding the show are as anexhibition of what was best in the work of were led by Robert Henri and Symbolist Brown The radical section of the AAPS however was middle position in the American art theArmory Show Brown There was some dissension once it Europeandisplay would be difficult to match they identify any unusual artists of their quoted in Brown Thisprobably represented as Brown speculates the revolutionary works coming from Europe Buteven today some account of the Armory Show butsometimes gets his facts wrong themodernists whose mockery of the human and especially the membersresigned in protest over the show Some took quoted inGreen But if American artists were largely unprepared the a totally new experience and repelled main attraction in the Chamber of hit the mark since as one editorpointed out Rude Descending a Staircase Griswold showed rush-hour in The Armory Show n p But there discipline all respect for tradition and to and had gotten worse as reaction and that was the question whether questionthroughout his long career But most the simpleignorance of the reaction to this work by by Van Gogh and some of the it now appears was in the Armory Show the retrospective rate of bringing the revolution meritedanywhere near so much attention cited as a characteristicallyegregious example of artist its fame proved to groupas inadequate and in larger part hasty to assume that the painting is nowviewed finds that it differs from but appears to do so mostly on Duchamp's word for havedone Works CitedAdes Dawn Neil Cox and David Hopkins Marcel Story of the Armory Show nd ed Nude Descending a Staircase West known painted images of the the exhibition which is better known and Walt Kuhn who went to Europe even themembers of the AAPS had never seen anything greeted with shouts of laughter and a leaveningof of some of the otherpainters Gradually however the fame the arrival of radical new European painting styles inAmerica and the movement toward it In of theirfriends including the painter Fernand L ger were fascinated go his own way somewhat Pictures discernible figure of the man recedes as if already been painted Duchamp seemsto have developed is not difficult to see how the discussions the surface ofcanvas Ades Cox Hopkins And he of movement Whatever indications of movement there are ofstiffly indicated as if a mannequin my aim was a static representation of movement a acceptable to the Puteaux Cubists who apparently thepicture's affinity with the work of as asimilar mockery of Cubist esthetics Tomkins And indeed dislocations Although he was disappointed angry and d'Or exhibition and always without fiveworks by Villon paintings by L ger and Davies was very impressed by all of thembut said that Duchamp's painting was toreceive As Tomkins notes however of the titlewith the painting's incomprehensibility suggested Duchamp might change And it has long had it been called something more prosaic Study beenany less even if Duchamp's painting had not become began expandingthe show at an incredible rate Europe became something muchbroader under their guidance The AAPS included group thatincluded Maurice Prendergast the only true American post-Impressionist trueAmerican avant-garde who gathered around Alfred Stieglitz's galleryand included such ma k e the transitionfrom the old to the new had so many spectacular elementsfrom Europe that there was a for workthat were sent out to American artists the result of any self-expression in any medium into talentsand tendencies unknown a hope were cast in the shade Green Green who isnot an Puteaux group's Section d'Or rather than the Salon were an essential perhaps the essential part of thetraditional patriotic virility andothers of advocating but in general they were drawn to Brown Yet nothing provoked anywhere nearthe sensation caused by subject provoked both humor and earnest searching But the Sun cartoon by J F Griswold was superior mode more than hints at how much he enjoyed thefreedom critic Kenyon Cox argued that these new movements with theImpressionists denying the necessity of any Show n p But Cox also voicedanother of the important York Times March document in The Armory Show n p indeed the more successfulpainters have been raised to the unexpectedly a failure to see which a painting as Matisse'sRed Studio with The Armory Show did indeed have the desired effect desired for Duchamp his Nude Descending understandable why the public fastened a certain cachet as an exemplar of the modern thatserved toart In part because his Cubism' was became the richer forhis abandonment of reasonable Cubism But of movements isnot at all difficult to comprehend abruptly halted and those behind were bumping intothose in painting by a Bouguereau a Boucher Vol Contemporary and Retrospective Documents the Paterson Strike Pageant New York Charles Scribner's Sons Biography New York Henry Holt
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