Aka Marcel Duchamp is an anthology of contemporary essays via major students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the whole diversity of Duchamp's occupation, those papers study how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of inventive id and legacy, including either own volition and contributions made through fellow artists, critics, and historians. This quantity isn't just very important for its contributions to Duchamp reviews and the sunshine it sheds at the higher effect of Duchamp's paintings and profession on sleek and modern artwork, but additionally for what it finds approximately how the background of paintings itself is formed over the years via moving agendas, evolving methodologies, and new discoveries.
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Additional resources for aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)
It must be some desire in me or opposition, spleen, lunacy. There have been six great masters in the world during the last thousand years. ” And just as Meier-Graefe’s conﬁdence in Velásquez was eventually shattered, so his opinion of El Greco was eventually transformed. Another amazing thing about The Spanish Journey is the record it contains of a great critic’s meticulous care and patience in looking at art. Meier-Graefe visited the El Grecos in Spain again and again, going not only to the Prado but also to out-of-the-way churches, monastaries, and private collections.
Extraordinary coincidences, to say the least. One of the most disagreeable features of the effort to destroy the Barnes Foundation has been a campaign of character assassination directed at its founder. This, too, has a long history. Barnes made many enemies. He was aggressive, impatient, and could be overbearing to the point of brutality. He harbored a particular dislike for the academic art-establishment, which he regarded as effete, snobbish, and essentially uninterested in the vital aesthetic core of art.
Paul Richard, chief art writer Betraying a Legacy: The Case of the Barnes Foundation 35 for the Washington Post, went even further. In an extraordinarily ignorant article called “An Imprisoned Collection Breathes at Last,” Mr. ” “Few American museums have ever been as selﬁsh, as scornfully unwelcoming, as is the Barnes Foundation,” Mr. ” In fact, Mr. Richard has it exactly wrong. The Barnes Foundation is not a gallery-cum-school; it is a school whose resources include art galleries. The public has not been given free access to the Barnes Foundation facilities, but then the public is not given carte-blanche to wander around classrooms at Yale or Harvard, either.
aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)