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Marcel Duchamp, 2007.
A look at the life and works of Marcel Duchamp and his contribution to the evolution of contemporary art.
1,116 words (approx. 4.5 pages), 5 sources, MLA, $ 38.95
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Abstract
Marcel Duchamp, the conceptual artist of the first half of the twentieth century, sparked heated debates during his practices in the art world and had a significant impact on how we view modern art today. This paper examines how Duchamp's evolution as an artist began with roots in traditional methods of paint and Greenberg-sanctioned expression and progressed to satire of the conventional art world, practices, and ways of viewing art. It discusses how the works of Marcel Duchamp mark an important period in art history of dramatic change and movements that, when understood today in their context in history, can be seen as responsible for paving the way for the contemporary art of today.
From the Paper
"One of Duchamp's most ambitious works was his mixed media The Bride Stripped Bare by Her Bachelors, Even (also known as The Large Glass), depicting the "bride" in the upper panel with nine "bachelors" looking on from below. Duchamp accompanied the work with his extensive set of working notes about the piece (called the Green Box), the sexuality of the mechanical structures depicted to represent human beings, and the imaginative physics that govern the piece. The piece captures the idea of the mechanical as it depicts a frozen scene being acted out by the "figures" in both panes. The celebration of movement as art is continued in Duchamp's amusement by cracks occurring the work when it was accidentally broken in 1927. "
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Marcel Duchamp, 2006.
A review of the the work of Marcel Duchamp and its relationship to primary teaching.
1,176 words (approx. 4.7 pages), 5 sources, MLA, $ 40.95
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Abstract
This paper discusses the life and work of Marcel Duchamp, focusing on his "readymades". This paper presents an overview of a making activity that can be developed in conjunction with the historical/critical discussion of Duchamp's readymades. The paper concludes with suggestions as to how these readymades can be turned into a useful classroom activity with the assistance of teacher guidance.
From the Paper
"Overall, Duchamp's readymades engage humor, analogy in scale, shifts, and transitions in translating elements. They form representation of the physical and the conceptual transformations of urban landscape into maps. Duchamp started his series of readymades when he worked on objects resembling the Eiffel Tower and the Ferris Wheel. The Bottle Rack was among Duchamp's first readymades, transformed from its utilitarian origins by the artist's selection and signing of the object. The artist may not have made this bottle rack, but he displaced it and disallowed it of its utility. Its metal forms echo the cast-iron structure of the Eiffel Tower. Bottle Rack transforms a machine-made household object into a sculpture of equally strange metal forms."
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Marcel Duchamp, 1990.
This paper discusses the influence of Marcel Duchamp on the Dadaist movement in art andrReady-made art forms.
900 words (approx. 3.6 pages), 5 sources, $ 31.95
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From the Paper
"This paper will discuss the influence that Marcel Duchamp had on the Dadaist movement in art. Dada originated in Paris and Zurich during the First World War. The despair of that war caused many Europeans to perceive a breakdown in the society of their time. This in turn led to the creation of Dada, a style of art which was paradoxically opposed to art. By seeking the destruction of art as they knew it, the European Dadaists made a statement about their world, which was apparently crumbling down around them. At approximately the same time in history, the concept of Dada was also being introduced in the United States by way of New York City. Although they were not directly involved in the war, the New York Dadaists still rejected the traditional values of the art world. This rejection was accompanied by a sense of humor, and their art often utilized elements of nonsense ... "
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Marcel Duchamp's "Fountain", 2002.
Discusses the artwork and its impact.
2,475 words (approx. 9.9 pages), 10 sources, $ 87.95
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Abstract
Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.
From the Paper
"This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic ..."
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Marcel Duchamp's "Rrose Selavy", 2002.
Describes the artist's performance of Rrose Selavy.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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Abstract
Describes the artist's performance of Rrose Selavy. The Rrose persona. Its network of meanings. Relationship of Rrose to DuChamp's readymades. Commodity aspect of readymades. Postmodernism. Visual portrayal of women. Boundaries of sexual differences. History and ideas of assisted and semi-readymades. Notion of artistic function. Cites specific examples.
From the Paper
"Marcel Duchamp's project is as complex, ambiguous, and rich as anything undertaken by any artist of the twentieth century. One of the most elaborate networks of meaning started by Duchamp derives from his 'performance' of Rrose Selavy, the female personification first used as a signature, mocked up in a series of posed drag photographs by Man Ray, and then persisting as an alter ego for Duchamp in many subsequent projects. The spectacle of a male artist who adopts a female persona and employs 'her' in the titles of various works, as the 'author' of other pieces, and simply as a sort of working fiction in his life raises questions of many kinds. Certainly the eroticization of the communication between artist and spectator, the performative nature of gender, the nature of the patriarchal art system and art history, and the meaning of authorship of works of art are all implicated in ..."
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Marcel Duchamp, 2000.
The life and career of the Dadaist artist, focusing on the critique of his masterpieces, "The Bride Stripped Bare by Her Bachelors, Even," and "Large Glass."
5,400 words (approx. 21.6 pages), 14 sources, $ 135.95
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From the Paper
"Marcel Duchamp (1887-1968) was one of four siblings who became artists in the period of intellectual and artistic ferment that saw out the last decades of the old century and extended beyond World War I. Duchamp's early interest was in painting and Cubism and much of his most influential work was related to Dada practice. But Duchamp was ultimately the most independent of artists--eventually becoming independent of art itself. Much of his influence derived from gestures or positions related to the nature of art, and a great deal of his fame rests on works consisting of ordinary objects altered or 'readymade.' But Duchamp's masterpiece is usually held to be the glass, metal, and paint construction entitled The Bride Stripped Bare by Her Bachelors, Even (1915-23), frequently known simply as Large Glass."
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The Pop Art Movement, 2009.
This paper explores Andy Warhol's art in the context of Marcel Duchamp's artistic works.
776 words (approx. 3.1 pages), 4 sources, MLA, $ 27.95
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Abstract
The paper shows how Marcel Duchamp paved the way for the acceptance of Andy Warhol's work by redefining what was considered art. The paper describes how Duchamp took several everyday objects and combined them in an unexpected way, while Andy Warhol's work transformed ordinary objects into art. The paper points out the similarities and differences between the two artists' style of art.
Outline:
From Readymades to Soup Cans
Defining the Pop Art Movement
From the Paper
"Andy Warhol's work transforms ordinary objects into art that summarizes the industrialization that permeated his society. Perhaps the most poignant proclamation by Warhol was his painting of 50 soup cans. This symbolized the uniformity and confines of modern society. Each of the cans was an individual in its own right, but in mass, the individuality disappeared. Duchamp paved the way for the acceptance of Warhol's work by redefining what was considered art .
"Duchamp's 'Readymades' radically changed ideas about what art is and what art is not. Duchamp used ordinary, mass produced objects placed in gallery spaces. One of the most controversial examples of this type of redefinition of a common object was his rendition of a urinal, which he creatively redubbed "The Fountain." . Transforming ordinary objects into an art form exemplifies a key similarity between Warhol and Duchamp."
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"Nude Descending A Staircase", 2002.
Discusses the controversy surrounding Marcel DuChamp's 1912 painting.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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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.
From the Paper
"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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Dada Art, 2006.
This paper describes the Dada movement and the artists Marcel Duchamp and Francis (Francois) Picabia.
2,675 words (approx. 10.7 pages), 5 sources, MLA, $ 80.95
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Abstract
This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper
"Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
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The Spatial Duality of Form, 2006.
An examination of the opposing views of sculpture expressed by Kurt Schwitters and Marcel Duchamp.
2,013 words (approx. 8.1 pages), 13 sources, APA, $ 63.95
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Abstract
This paper explains that Marcel Duchamp saw sculpture as a self-contained object that packages its own space and ideas, whereas Kurt Schwitters, in direct contrast to Duchamp's view, saw sculpture as the relationships of the parts to the whole actively which serve to create the space and idea. The paper then proposes that, in fact, sculpture has the ability to express Duchamp's and Schwitter's opposing ideas simultaneously, and to become a multidimensional spatial experience.
From the Paper
"At the same time, Marcel Duchamp was introducing the ready-made object. His inverted urinal, among other objects, significantly impacted our thinking of sculpture as well. At the other end of the spectrum from Schwitters, Duchamp glorified, to the point of fetishizing , the objectness of sculpture. By opposite means, he too questioned the meaning of spatial experience."
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The Nude in Art, 2001.
Examines approach of Marcel Duchamp & Jean Cockteau re: use of nude as a subject. Their deconstruction of the nude as subject of art.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"The influence of Marcel Duchamp and Jean Cocteau on the use of the nude as a subject in art falls outside the usual categories of influence. Duchamp's singular experience with his Nude Descending a Staircase (1912) was instrumental in his decision to turn from any conventional type of art career and become the twentieth-century archetype of the anti-artist. Even though the popular 'scandal' surrounding the painting was of a type that would have launched a more typical artistic career, and his intentions with regard to the Nude were somewhat conventional, Duchamp's subsequent path was devoted to the exposure of art's ways and means. The nude, however, was one subject whose dimensions fascinated him and at the end of his career he created the disturbing multimedia work Given: 1. The Waterfall 2. The Illuminating Gas (1946-66) which, in some..."
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Modernism and Postmodernism, 2000.
A definition and comparison of two artistic philosophies in theory and in practice. Examples include Marcel Duchamp and Glenn Ligon.
1,350 words (approx. 5.4 pages), 8 sources, $ 47.95
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From the Paper
"Both modernism and postmodernism are reactions to change, with modernism reacting to the rapidity of technological and social change at the end of the nineteenth century, while postmodernism is a reaction to the social uniformity of modernism. Again, each makes a statement in a certain way because it has been made possible to make statements in just that way. Postmodernism is a restatement of the private and personal after the modernist era of the social and public. When Harvey cites the technological changes contributing to the development of postmodernism, he is citing the changes that permitted the artist to shape material for personal tastes and individual needs (Harvey 66). In this sense, and with reference to architecture, the postmodernist shapes public space in a certain way because he or she can so shape it."
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Marcel Breuer, 2007.
This paper presents an overview of the life and accomplishments of architect Marcel Breuer.
1,261 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
The paper discusses modernist architect Marcel Breuer's background and his style of work. The paper relates that Breuer is well known for his emphasis on the technical and structural aspects of his buildings. The paper adds that his architecture is recognized for its attention to light and shading, particularly in the use of tinted or shaded windows and overhanging elements. The paper notes his many accomplishments.
From the Paper
"Born in Pecs Hungary in 1902, Marcel Breuer attended university at the newly formed Weimar Bauhaus, attracted to the promises of new architectural and artistic approaches (Marcel Breuer: architect biography, par. 1). He attended the Bauhaus in the early twenties and taught there after finishing his studies. Though the Bauhaus did not yet offer architecture when he began there, Breuer, aided by Georg Muche, began to study housing anyway. He had a particular interest in high-rise structures and soon after developed a seven-story apartment block that would be mass-produced in the years to come (Marcel Breuer: architect biography, par. 1)."
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Marcel Proust's "Swann's Way", 1981.
This paper discusses "Swann's Way", the first of 7 volumes comprising the book "Rememberance of Things Pasts, which begins Marcel Proust's story of how a little boy becomes a writer.
1,575 words (approx. 6.3 pages), 1 source, $ 55.95
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From the Paper
"The sequence from "Swann's Way" by Proust associates the name of a person and the name of a place with Marcel in a direct way. The person's name is Gilberte, and the place is the Champs-Elys?es and areas around Paris. Gilberte is Swann's daughter. Her name floats by as Marcel, and hearing that name will lead Marcel into a love relationship. He is in the Champs-Elys?es when he overhears a little girl calling out, "Good-bye, Gilberte, I'm going home now; don't forget we're coming to you this evening, after dinner" .The name itself has a power, and hearing it now creates links for Marcel with an earlier time in Combray when he heard the name, and he then knew that the little red-headed girl was Swann's daughter. In the Champs-Elys?es, Marcel is affected by hearing the name, by the mystery surrounding this girl, and by the idea of the girl herself, the idea ... "
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Art Theory, 2009.
A look at the paradigms of modernism and postmodernism in art theory and practice.
823 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
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Abstract
In a discussion on art theory, this paper examines the historico-temporal conceptual paradigm, which attempts to account for art making practices throughout the 20th and 21st centuries. The paper relates that this is the legacy of "modernism" versus what has come to be known as "postmodernism." The paper also relates that,
the two legacies, however, are intertwined and cannot be separated. Next, the paper identifies and explains the recognizable features of postmodernism, namely, the breaking of restrictive boundaries as seen by Marcel Duchamp's decision to display a urinal in an art gallery, the style of pastiche, and the erasing of boundaries that have traditionally separated high culture from popular culture.
From the Paper
"A paradigm can be thought of as a theoretical framework which forms the foundation of critical analysis of a particular work of art. Generally, paradigms consist of a complex web of philosophical principles that define a particular worldview. Paradigms are not always successful in defining and analyzing works of art, however; as the literary critic Frank Kermode once wrote on the subject of paradigms, "If we cannot break free of them, we must make sense of them." Thus, a lot of the thinking on theoretical paradigms is self-reflective; in other words, a work of art may spurn an analysis that causes one to question the nature of the very paradigm being employed to analyze that work."
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