Ad
related to: marcel duchamp female alter ego names for women
Search results
Results From The WOW.Com Content Network
The model on the label is Rrose Sélavy, an alter ego of Marcel Duchamp and one of his pseudonyms. Sélavy emerged in 1921, on this label, for the first time, though the name was first used to sign a readymade, Fresh Widow, in 1920. [1] Man Ray continued a series of photographs showing Duchamp dressed as a woman through the 1920s.
Henri-Robert-Marcel Duchamp (UK: / ˈ dj uː ʃ ɒ̃ /, US: / dj uː ˈ ʃ ɒ̃, dj uː ˈ ʃ ɑː m p /; [1] French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.
Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp.The work is widely regarded as a Modernist classic and has become one of the most famous of its time.
Rrose Sélavy, the feminine alter-ego of artist Marcel Duchamp, remains one of the most complex and pervasive pieces in the enigmatic puzzle of the artist's oeuvre. She first emerged in portraits made by the photographer Man Ray in New York in the early 1920s, when Duchamp and Man Ray were collaborating on a number of conceptual photographic works.
Rrose Sélavy, a female alter-ego employed by dada artist Marcel Duchamp, sounds like "Eros, c'est la vie" meaning something like "eroticism is life". "Yamamoto Kadératé", a faux Japanese name which sounds like the sentence "Y a ma moto qui a des ratés" meaning "My motorbike has backfires".
The Bride Stripped Bare by Her Bachelors, Even (in French : La mariée mise à nu par ses célibataires, même), most often called The Large Glass (in French : Le Grand Verre), is an artwork by Marcel Duchamp over 9 feet (2.7 m) tall and almost 6 feet (1.76m) wide. Duchamp worked on the piece from 1915 to 1923 in New York City, creating two ...
Historically this artwork has been credited as being by Marcel Duchamp. But, it was originally signed under a pseudonym and in the 1980s a letter was discovered in which Duchamp credited an unnamed female friend for the work.
Duchamp never identified his female friend, but three candidates have been proposed: an early appearance of Duchamp's female alter ego Rrose Sélavy, [25] [28] Elsa von Freytag-Loringhoven, [29] [30] or Louise Norton (a close friend of Duchamp, [25] later married to the avant-garde French composer Edgard Varèse, [31] who contributed an essay ...