In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realizat… - Marcel Duchamp
" "In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of.
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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
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Rrose Sélavy
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R. Mutt
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Rose Sélavy
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Marcel Duchamp-Villon
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Marsel Dushan
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Duxiang
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Henri-Robert-Marcel Duchamp
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Marcel Duchamp- Villon
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Rrose Selavy
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Rose Selavy
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Additional quotes by Marcel Duchamp
They say any artist paying six dollars may exhibit
Mr. Richard Mutt [= Long time scholars recognize R. Mutt was Duchamp himself; a growing number attribute credit Elsa Von Freytag-Loringhoven, a bisexual dada artist living in New York who as a woman, needed a pseudonym to get into the Armory Exhibition]. The object was photographed by Alfred Steiglitz before disappearing and was never was exhibited.
What were the grounds for refusing Mr. Mutt fountain:
1. Some contented it was immoral, vulgar.
2. Others, it was plagiarism, a plain piece of plumbing.
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First, there's the idea of the movement of the train [in his painting 'Nude (Study), Sad Young Man on a Train', (made in 1911–12)] and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the [painting] 'Nude Descending a Staircase'.
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