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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.
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.
In her Portrait of Marcel Duchamp and Rrose Sélavy, for example, she included images of a number of his "readymades," as well as his feminine alter ego, Rrose Sélavy. Barbara Bloemink has proposed that Duchamp based his persona as Rrose Sélavy in the well-known 1920-21 photography by Man Ray on Stettheimer. [32]
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".
[47] [48] According to Özkaya, there is more to Étant Donnés than previously thought; that the work, which took Duchamp more than 20 years to create, [49] projects an image of Rrose Sélavy, "Duchamp’s female alter ego." [50]
Marcel Duchamp dressed his mannequin in a man's felt hat, shirt, tie and jacket; a red bulb blinked in the breast pocket, and the lower part of the mannequin was naked - "Rose Selavy (Duchamp's alter ego) in one of her provocative and androgynous moods".
Several of these sources outline alternative theories for its authorship and the identity of this friend, including Elsa von Freytag-Loringhoven, Louise Norton, or a female alter ego of Duchamp himself.