By Maurizio Calvesi
Marcel Duchamp (28 July 1887 – 2 October 1968) was once a French-American painter, sculptor, chess participant, and author whose paintings is linked to Dadaism and conceptual paintings, even if in a roundabout way linked to Dada teams. Duchamp is often appeared, besides Pablo Picasso and Henri Matisse, as one of many 3 artists who helped to outline the progressive advancements within the plastic arts within the establishing a long time of the 20th century, chargeable for major advancements in portray and sculpture. Duchamp has had a major influence on twentieth-century and twenty first-century artwork. via international struggle I, he had rejected the paintings of lots of his fellow artists (like Henri Matisse) as "retinal" paintings, meant merely to delight the attention. in its place, Duchamp desired to positioned paintings again within the provider of the brain.
Sommario:
UNA LUMINOSA OSCURITA'
Prima del Grande Vetro (Arturo Schwarz)
Una tecnica contro il gusto (James J. Sweeney)
Il processo creativo (Marcel Duchamp)
L'OPERA CHIAVE
MEM, MUTT, MUTTER
Cronologia
Bibliografia
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Sample text
The thought processes of American lndians take shape through the medium of my thought or whether mine take place through the medium of theirs'. 9 Only by a total abstraction of myth from the concrete situations in which it appears can such interchangeability occur. It would be equally immaterial whether the iconographic codes of a Renaissance painting were operated by a quattrocento Florentine or by a twentieth-century art historian, for these codes are univocal, and transcend (are unaffected by) social context.
The criterion of right recognition always involves more than aile observer: it is essential that agreement exist to attach a term of recognition ('Nativity') to the image in regularised and consensual fashion; only behveen individuals does the medium of signs take shape. 19 Noumenal events may indeed accompany recognition, but in so far as recognition in any way submits to criteria of correctness it comes to operate within the world as practical activity, and no longer concerns the noumenal field: the latter may assume any guise we may attribute to it.
Absence of explicit articulation is in no wayan index of limited knowledge; it is rather an index of the degree to which the rules governing the process are embodied within technique. 12 It is therefore not only the internal ratio of denotation to connotation that is responsible for the effect of the real; but the fact that the connotative codes inhere within the social formation, that they cannot be operated in abstraction from the social formation, and that they carry the connotative dimension of the image directly into the social formation.