Duchamp

Japanese: デュシャン

A French artist born in Normandy. In 1904 he went to Paris and participated in the Cubist movement Section d'Or with his elder brother Jacques Billon and his younger brother Raymond Duchamp-Billon. He exhibited Nude Descending a Staircase No. 2, which depicted the body as a sexual machine in motion, at the Armory Show in the US in 1913, causing a scandal. However, he abandoned painting, believing that modern painting had degenerated into a mere retinal pleasure of viewing, and produced ready-made objects such as bicycle wheels and cup dryers that he had signed. In particular, Fountain (1917), which uses a men's urinal, is known for being refused exhibition. In 1914 he went to the US and formed New York Dada with Man Ray and others, and thereafter was mainly active in the US (later becoming a naturalized citizen). From 1915 to 1923, he created "The Bride Stripped Naked by Her Bachelors, Even" (commonly known as "The Large Glass"), which is an allusive depiction of a barren love that will never be shared, on a 2m x 3m glass panel (unfinished, in the possession of the Philadelphia Museum of Art. A replica made by Shuzo Takiguchi and others is at the University of Tokyo). He also created "Rotary Relief" and "Green Box", which contains notes taken while working on "The Large Glass", and participated in the Surrealist movement in Paris. After the war, he became absorbed in chess and ended his life as an "artist who does not create". However, his will included "1. Falling Water, 2. Gas for Illumination" (commonly known as "Posthumous Work", 1946-1966, in the possession of the Philadelphia Museum of Art), which was made public after his death, and this resulted in even the postwar "myth of Duchamp" being overturned. This is a work full of sexual fantasy and retinal pleasure, in which, looking through a hole in the door, one can see a nude woman with a lamp in her hand and her legs spread. Duchamp's work greatly transformed the concept of "art" and had a decisive influence on the development of art after World War II.
Related Articles: Chance | Claire | Conceptual Art | Pop Art | Marais | Minimal Art

Source : Heibonsha Encyclopedia About MyPedia Information

Japanese:

フランス出身の美術家。ノルマンディー生れ。1904年パリに赴き，長兄ジャック・ビヨン，次兄レーモン・デュシャン・ビヨンらのキュビスム運動〈セクション・ドール〉に参加。肉体を性的な機械の運動として描いた《階段を下りる裸体No.2》を1913年米国のアーモリー・ショーに出品し，スキャンダルとなる。しかし，近代絵画がただ見るだけの〈網膜的〉楽しみに堕したと考えて絵画を放棄し，自転車の車輪やコップの乾燥器にサインをしただけの〈レディ・メード（既成品）〉のオブジェを発表。なかでも男性用便器を用いた《泉》（1917年）は展覧会出品を拒否されたことで知られる。1914年渡米，マン・レイらと〈ニューヨーク・ダダ〉を結成し，以降主に米国で活動（後に帰化）。1915年―1923年には，2m×3mのガラス板に，永遠に交わることのない不毛の愛を暗示的に描いた《彼女の独身者たちによって裸にされた花嫁，さえも》（通称《大ガラス》）を制作（未完。フィラデルフィア美術館蔵。滝口修造らの手によるレプリカが東京大学にある）。また，《ロトレリーフ》や《大ガラス》制作中のメモを収めた《グリーン・ボックス》などを手がけ，パリのシュルレアリスム運動にも参加した。戦後はもっぱらチェスに熱中し，〈作らない芸術家〉として生涯を終えた。ところが，遺言によって《1.水の落下，2.照明用ガス，が与えられたとせよ》（通称《遺作》。1946年―1966年，フィラデルフィア美術館蔵）が死後公表され，戦後の〈デュシャン神話〉までもが覆される結果となった。これは扉に開けられた穴をのぞくと，手にランプを掲げ股を開いた全裸の女性が見えるという，性的なファンタスムと〈網膜的〉楽しみに満ちた作品である。デュシャンの活動は〈美術〉の概念を大きく変革し，第２次大戦後の美術の展開に決定的な影響を及ぼした。
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