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Marcel Duchamp's 1912 Munich trip provided the evidence for the interest he had in his use of string, thread and cloth throughout his career. The artistic patterns that emerged in his work connect him with earlier artistic traditions. Davis gives us an unusual view of Duchamp's interests and offers a continuity within which we may perceive his work. An early drawing referencing a sewing machine provides the key to much of Duchamp's creative habits.
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The book provides that rare experience of an ah-ha revelation about a world-famous artist you thought you knew all about. Surely no other artist has gripped the public’s imagination with his outrageous works that at first elicited the remark, "But is it art?" "Yes!" confirmed the critical world.
The Author lays out how a traditional artist working with paint and canvas was so intensely influenced by the manufactured goods he observed at a 1912 Munich Trade Show that he abandoned making painted images and from thereon focused on creating works from already manufactured items. From this came his break-through style which came to be known as "Readymades." The artist introduced a new aesthetic; shocking the art world at first, but now revered as great art.From the Author:
Duchamp’s pieces, especially the everyday objects he labeled Readymades, were often chosen from the realm of manufactured commercial articles. His work seldom seemed to make sense to people whose artistic preferences remained rooted in the paintings of the traditions represented by Raphael or even Monet. The quandary his pieces put us in, as well as the questions they continue to pose, are at base of my inquiry into why his work changed so drastically beginning with his 1912 trip to Munich. After many years of researching his work, I believe that this book goes a distance towards connecting Duchamp’s artistic habits with artistic traditions, despite the twentieth century’s perception that he and his work were outside it.
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