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Marcel Duchamp citáty

Marcel Duchamp bol francúzsky maliar.

✵ 28. júl 1887 – 2. október 1968
Marcel Duchamp fotka
Marcel Duchamp: 67   citátov 0   Páči sa

Marcel Duchamp citáty a výroky

„Neverím v umenie. Verím v umelcov.“

Marcel Duchamp
O umenie

Marcel Duchamp: Citáty v angličtine

“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

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Marcel Duchamp

Quote from The Writings of Marcel Duchamp (Marchand du Sel) e.d. Michel Sanouille and Elmer Peterson, New York 1973, pp. 139-140
posthumous
Kontext: The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place... All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.

“I have forced myself to contradict myself in order to avoid conforming to my own tastes.”

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Marcel Duchamp

Quote by Harriet & Sidney Janis in 'Marchel Duchamp: Anti-Artist' in View magazine 3/21/45; reprinted in Robert Motherwell, Dada Painters and Poets (1951)
1921 - 1950
Varianta: I force myself to contradict myself in order to avoid conforming to my own taste.

“Destruction is also creation.”

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Marcel Duchamp

Zdroj: Ref: en.wikiquote.org - J. Posadas / Quotes / War is Not the End of the World

“I feel shame, not for the wrong things I have done, but for the right things that I have failed to do.”

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Marcel Duchamp

“I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.”

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Marcel Duchamp

Quote from 'Time Magazine', 10 March 1952; as quoted on Wikipedia: Marcel Duchamp
1951 - 1968

“All this twaddle, the existence of God, atheism, determinism, liberation, societies, death, etc., are pieces of a chess game called language, and they are amusing only if one does not preoccupy oneself with 'winning or losing this game of chess.”

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Marcel Duchamp

“The individual, man as a man, man as a brain, if you like, interests me more than what he makes, because I've noticed that most artists only repeat themselves.”

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Marcel Duchamp

“What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.”

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Marcel Duchamp

1951 - 1968, The Creative Act', 1957
Kontext: I want to clarify our understanding of the word 'art' – to be sure, without an attempt to a definition. What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion.
Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in a raw state – 'à l'état brute' – bad, good or indifferent.

“As soon as we start putting our thoughts into words and sentences everything gets distorted, language is just no damn good—I use it because I have to, but I don’t put any trust in it. We never understand each other.”

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Marcel Duchamp

“I like living, breathing better than working… my art is that of living. Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral, it's a sort of constant euphoria.”

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Marcel Duchamp

“To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.”

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Marcel Duchamp

1951 - 1968, The Creative Act', 1957
Kontext: Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

“If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.”

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Marcel Duchamp

“[ Impressionism was] the beginning of a cult devoted to the material on the canvas – the actual pigment..”

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Marcel Duchamp

posthumous

“.. I am not going to New York, I am leaving Paris. That's quite different. Long before the war [World War 1. ] I already had a distaste for the 'artistic life' I was involved in. – It's quite the opposite of what I'm looking for. – And so I tried, through the Library, to escape from artists somewhat. Then, with the war, my incompatibility with this milieu grew. I wanted to go away at all costs. Where to? My only option was New York where I knew you [ Walter Pach, artist and friend of Duchamp] and where I hope to be able to escape leading the artistic life, if needs be through a job which will keep me very busy. I ask you to keep all this from my brothers [all his brothers were artists as well] because I know my leaving will be very painful for them.”

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Marcel Duchamp

the same goes for my father and sisters.
Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157
1915 - 1925

“Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N. Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.”

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Marcel Duchamp

long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158
1915 - 1925

“If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.”

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Marcel Duchamp

1951 - 1968, The Creative Act', 1957

“.. the thing was to choose one [a ready-made object] that you were not attracted by.... and that was difficult because anything becomes beautiful if you look at it long enough... [My intention was to] completely eliminate the existence of taste, bad or good or indifferent.”

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Marcel Duchamp

Quote from The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 164
posthumous

“I have been wanting to write to you for some time, but never have time, so absorbed I am in playing chess. I play night and day and nothing in the whole world interests me more than finding the right move... Nothing transcendental going on here – strikes [in Buenos Aires, where chess competitions were organized that year for not professionals] a lot of strikes, the people are on the move. Painting interests me less and less.”

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Marcel Duchamp

a daily life quote, in Duchamp's letter to the Stettheimers family in New York, from Buenos Aires 3 Mai 1919; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159
1915 - 1925

“My brother [the sculptor artist Raymond Duchamp-Villon had a kitchen in his little house in Puteaux, and he had the idea of decorating it with pictures by his buddies. He asked Gleizes, Metzinger, La Fresnaye, and I think Leger [all Cubist painters, then] to do some little paintings of the same size, like a sort of frieze. He asked me too, and I painted a coffee grinder which I made to explode.”

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Marcel Duchamp

Quote from: Entretiens avec Marcel Duchamp, 1965; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 198
Duchamp's quote is referring to his painting 'Moulin a café', 1911 - many times reproduced from the lithography, made for the 1947 re-edition of Gleizes and Metzingers book 'Du Cubisme'
1951 - 1968

“I realized very soon the danger of repeating indiscriminately this form of expression and decided to limit the production of 'ready-mades' to a small number yearly. I was aware at that time, that for the spectator even more than for the artist, art is a habit forming drug and I wanted to protect my 'ready-mades' against such contamination.”

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Marcel Duchamp

1951 - 1968, Apropos of Ready Mades', 1961

“I wanted to get away from the physical act of painting... For me the title ('Fresh Widow', 1920), with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', [probably referring to all the widows because of the many killings of soldiers in World War, 1. which ended in 1918] was very important... I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.”

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Marcel Duchamp

Quote from: Looking at Dada ed. Sarah Blyth / Edward Powers, MoMa, New york 2006; p. 13
posthumous

“Received your letter and, almost at the same time, the long text at which I was overjoyed. You no doubt know that you are the only person in the world to have put together the gestation of the glass [ The Large Glass, circa 1923] in all its detail, including even the numerous intentions which were never executed [by Duchamp]. Your patient work has enabled me to relive a period of long years during which the notes were written for the 'Green Box' [the second of the three Boxes Duchamp created and this one was full of written notes] at the same time as the Glass [= The Large Glass] was taking shape. And I confess to you that, not having read these notes for a very long time, I had completely lost all recollection of numerous points not illustrated on the glass and which are a delight to me now”

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Marcel Duchamp

c. 25 years later
Quote from Duchamp's letter to fr:Jean Suquet (art historian), New York 25 December 1949; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 163
1921 - 1950

“Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.
In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history.
I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act.”

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Marcel Duchamp

1951 - 1968, The Creative Act', 1957