The American woman is the most intelligent woman in the world today - the only one that always knows what she wants, and therefore always gets it. Ha… - Marcel Duchamp

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The American woman is the most intelligent woman in the world today - the only one that always knows what she wants, and therefore always gets it. Hasn't she proved it by making her husband in his role as slave-banker look almost ridiculous in the eyes of the whole world? Not only has she intelligence but a wonderful beauty of line is hers, possessed by no other woman of any race at the present time.

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About Marcel Duchamp

Henri-Robert-Marcel Duchamp (July 28, 1887 – October 2, 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He was the first artist creating 'ready-made' in modern art.

Biography information from Wikiquote

Also Known As

Alternative Names: Henri Robert Marcel Duchamp Rrose Sélavy R. Mutt Rose Sélavy Marcel Duchamp-Villon Marsel Dushan Duxiang Henri-Robert-Marcel Duchamp Marcel Duchamp- Villon Rrose Selavy Rose Selavy
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Additional quotes by Marcel Duchamp

All in all, 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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I am a great enemy of critical writing as all I see in these interpretations and comparisons with Kafka and others is just an opportunity to open up the floodgates of words which, overall, amounts to Carrouges or at times a translation of Carrouges – very free to makes his ideas look good. Obviously any work of art or literature, in the public domain, is automatically the subject of the victim of such transformations – and this is not just confined to the case of Carrouges. Every fifty years, El Greco is revised and adapted to the taste of the day, either overrated or underrated. The same goes for all surviving works of art. And this leads me to say that a work of art is made entirely by those who look at it or read it and make it survive by their acclaim or even their condemnation.

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