Wood was still a virgin, and for Duchamp that marked her as off limits. Varèse faded away.’ As she remembered it: ‘At that moment we were lovers.’ Except that they didn’t have sex. ![]() (You see how it goes.) Wood was instantly smitten: ‘Marcel smiled. Wood met Duchamp at the hospital bedside of the composer Edgar Varèse, who later married Duchamp’s occasional lover Louise Norton, who was at the time still technically the wife of the poet Allen Norton. Although Roché and Wood each later achieved a degree of fame (he wrote the novel Jules et Jim she became a celebrated ceramicist), it’s the involvement of Duchamp that makes this particular love triangle noteworthy. Henri-Pierre Roché, an unrelentingly priapic French journalist, and Beatrice Wood, an aspiring actress and incurable romantic, were both in love with Duchamp and then with each other but still also with Duchamp. Breezily entertaining (there’s more love here than art), its essential shape is triangular, with Duchamp inevitably at the apex. The collision of that atom with two others in the febrile New York art world c.1917 forms the superheated core of Ruth Brandon’s Spellbound by Marcel: Duchamp, Love and Art. Why everyone is delighted the US women’s soccer team is out Surrounded by lovers, friends and admirers, he remained noticeably detached the same woman who remarked on his physical fineness also called him a ‘poor little floating atom’. A mysterious figure, kind, clever, calm, elegant, easy and almost programmatically unconventional, he exerted – without ever exerting himself – a magnetism at once obvious and inexplicable. Made famous by his painting ‘Nude Descending a Staircase’ (1912) – ‘an explosion in a shingle factory’ per the New York Times – Duchamp was effortlessly attractive to both men and women. When I finished he rose from his chair, took my teacup and put it down at the side with a grace that I had never seen in anyone before and have seldom seen since.ĭuchamp exerted – without ever exerting himself – a magnetism at once obvious and inexplicable Information about image downloads and licensing is available here.One could compile a fat anthology of tributes to Marcel Duchamp’s charm – especially what one friend called the artist’s ‘physical fineness’ – but it would be hard to top Georgia O’Keeffe’s memory of their first meeting:ĭuchamp was there and there was conversation. ![]() To help improve this record, please email. ![]() Object information is a work in progress and may be updated as new research findings emerge. Steichen and George Eastman House Reference Number 1982.333 Copyright © 2018 The Estate of Edward Steichen/Artists Rights Society (ARS), New York Extended information about this artwork Made 1921 Medium Gelatin silver print Dimensions Image: 50 × 36 cm (19 11/16 × 14 3/16 in.) Paper: 50.7 × 37 cm (20 × 14 5/8 in.) Credit Line Bequest of Edward Steichen by direction of Joanna T. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. About this artwork Status Currently Off View Department Photography and Media Artist Edward Steichen Title Isadora Duncan, Columns of Parthenon Place United States (Artist's nationality:) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible.
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