Fountain Duchamp
3rd reply. Produced under the direction of the artist in 1964 by the Schwarz Gallery. White earthenware covered with ceramic glaze and paint. 63 48 35 cm.
Fontaine (English: is a ready-made for Marcel Duchamp formed by a urinal porcelain overthrown signed "R. Mutt "and dated 1917. The sculpture was rejected at the first exhibition of the Society of Independent Artists in New York in 1917 before disappearing. Only replicas certified by Duchamp in the 1960s are now on display in museums. Fontaine goes to the most controversial work of art of the twentieth century Description Fontaine is a ready-made , that is to say an "object all done", ie an idea that Marcel Duchamp had to "choose" a urinal to an industrial exhibition of modern art instead of a sculpture of his hands. The original object is a single item purchased in a health store of the JL Mott Iron Works Company in New York. Marcel Duchamp added using paint black with the inscription "R. Mutt 1917 ". The replica on display at Museum of Modern Art Georges Pompidou Centre , completed in 1964 , is a white porcelain urinal covered with ceramic glaze and paint. Its dimensions are 63 x 48 x 35 cm. It features the signature "R. Mutt "and the date" 1917 "in black paint and a copper plate fixed in the urinal, with the inscription:" Marcel Duchamp 1964 Ex / Rrose / FOUNTAIN 1917 / Edition Galerie Schwarz, Milan " . The title "Fountain" came from the entourage of Marcel Duchamp and accepted by him for exhibition by the Society of Independent New York. Alfred Stieglitz then explains the urinal in the gallery the same year under the title Our Lady of the bathroom (Madonna Of The Bathroom) . According to the Mercure de France (1918), sending Mr. Mutt was titled: The Buddha in the bathroom. Indeed, "we did not notice that the curve of bowls or fountains of the kind that Mr. Richard Mutt wanted to expose Independent New York affects the shape of a Buddha squatting " . Marcel Duchamp was a member at that time director of the Society of Independent Artists in New York ( Society of Independent Artists ) with his friend Walter Arensberg was executive director. The principle of the company, founded in December 1916 , is that any artist can become a member by filling out a simple form. The principle of "no jury, nor reward" is the same as the Society of Independent Artists in Paris , founded in 1884. (The Paris-based company has, moreover, refused Table Duchamp's Nude Descending a Staircase in 1912 .) For his first exhibition, held in New York from 9 April 1917 , the American Society allows any artist reveals the object of his choice without the jury selection does not display a price for six dollars. It should not be denied to some of the artists for aesthetic reasons. Duchamp sends in these conditions under the pseudonym R. Mutt a urinal as porcelain sculpture for the exhibition. The author perfectly unknown artist for Philadelphia and nobody recognizes Duchamp behind the name. Yet the "fixture" sent by R. Mutt is not exposed on the pretext that "his place is not an exhibition of art and not a work of art , by any definition whatsoever " . The decision was taken by William Glackens , president of the Society, after a majority vote that brought together members of the Steering Committee, the eve of the opening, contrary to the principle that there is no jury. The precise reasons cited for refusing to send Richard Mutt were: The painter George Bellows think it is a "joke", but Walter Arensberg Richard Mutt defends that "the admission fee has been paid", "a form appealing has been revealed, freed from its value use "and" someone has done an aesthetic gesture " . When Duchamp learns that the object of Richard Mutt was refused, he resigned from the Board of the company - but without disclosing his paternity - and Arensberg did the same . The exhibition went smoothly and successfully, and nobody saw the urinal to the fence, which remained behind a wall of the Grand Central Palace, where the event takes place. William Glackens proposes that Marcel Duchamp gave a lecture on the ready-mades to the Company and Richard Mutt explains his theory of art that would legitimize the presence of the urinal. This confrontation will obviously not take place. Katherine Dreier Duchamp apologized for having voted "no" to Fontaine, the object seemed to lack originality. The question is whether she R. Mutt was "sincere", or if someone acted out of provocation by using a jokester name as a joke . The New York press is certainly echoes the case , but the controversy is triggered only with the publication of an anonymous article published in The Blind Man, a satirical magazine founded on the occasion of the exhibition Duchamp, Henri Pierre Roch and Beatrice Wood : The Richard Mutt Case. In defense of R. Mutt, it is written: "The only works of art America has given are her plumbing and her bridges" . The argument is that it does not matter that Mutt has made the fountain with his hands or not, but he chose an object of everyday life by withdrawing its use value with a new title and a new point of view and consists of creating a new thought of the object . Louise Norton has written an article "The Buddha of the Bathroom". To the question: "Is it serious or is this a joke? She replies, "maybe two" . At the request of Duchamp and his friends, Alfred Stieglitz for The Blind Man carries a picture of the Fountain . It is taken before a picture of Marsden Hartley representing Affairs (The Warriors, 1913) while the U.S. just entered into war in the name of the fight for democracy. This photographic record is to date the only trace of "being refused by the Independents Exhibition" at the exhibition of 1917. Duchamp decided not to hold a new Salon des Refuses, which Fontaine is the sole element. Stieglitz describes a time the object of Richard Mutt in his New York gallery 291, where the photograph was taken. We do not know what the urinal became thereafter. Following assumptions, the original fountain was purchased by Walter Arensberg , put away, destroyed, lost, found or stolen. The urinals are all signed R. Mutt. Marcel Duchamp said that the name was altered Mutt Mott, the company name JL Mott Iron Works, which provided him his copy. He wanted Mutt is reminiscent, to his contemporaries, American comics were very popular Mutt and Jeff of Bud Fisher. Mutt is a very small figure and Jeff is a great character. The name Richard is opposed to the idea of poverty . Duchamp has also believe that Mutt was the pseudonym of a male friend of hers. The telephone number to the press is indeed that of the writer Louise Norton, who was involved in the case . Others have proposed various interpretations: Note also that we can decompose 'R. Mutt "to" RM utt "which gives" Ready-made had been "or" Ready-made would have been. " We can also see "R Mutt" or Mutter, mother German. Another interpretation is that we understand 'R. Mutt 'as' art mute (in English), ie, Duchamp, by signing, would have meant the transfer of the art he was going to operate. Ready-made Fontaine is a ready-made , that is to say an "object all done." This is not the first ready-mades of Marcel Duchamp, but the first is for an exhibition of modern art and has found the media. Precedents remained in the artist's studio. They were not even shown in the lounge of Walter Arensberg. Both ready-mades that were previously exposed (at Galerie Bourgeois, 1916) are at best remained unnoticed. One of them was simply hidden in the umbrella stand and is an exception. The concept of ready-made was not known either the public or members of the Society of Independent Artists in 1917 . The original urinal having disappeared, it remains today replicas. They were made at the initiative of art dealers or curators alive Marcel Duchamp , with his consent. All are reproductions rather than original, but the photography of Alfred Stieglitz. They are officially exhibited in galleries as works of Marcel Duchamp, but are signed and dated 'R. Mutt 1917 "as the original. These replicas were made by: They are visible at the Philadelphia Museum of Art , the Moderna Museet in Stockholm , the San Francisco Museum of Modern Art , the Tate Gallery in London , the National Gallery of Canada to Ottawa , the National Museum of Modern Art in Kyoto , the Maillol Museum in Paris , at the Indiana University Art Museum in Bloomington , at the Israel Museum in Jerusalem , at the National Gallery of Modern Art in Rome. Others are in private collections. The replica on display at the National Center for Art and Culture Georges Pompidou in Paris is the exemplary artist Occasional made by Arturo Schwarz. This reply has been vandalized by Pierre Pinoncelli (see below: Tribunals) . While the replica of Janis is made from a urinal found in a flea market of Paris , the series edited by Schwarz is hand made by a process of molding as in sculpture traditional, which is a reversal of specific readymade. Marcel Duchamp himself had already built a miniature reproduction of Fountain in three dimensions in the Box in a Valise (1936-1941) containing all of his works. In 1938, he filmed a mock paper mache over wire frame, then a model in china with inscription in gouache . Replica Fountain was officially attributed to the author of Nude Descending a Staircase , being refused by the Society of Independent Artists in 1917 began a new career after 1945. Taking advantage of a historic reversal, it is full recognition in the art world and moves soon for the new paradigm of the artwork. Duchamp, by ending the hegemony of the visual in art history, has, through his urinal opened a new era of art, where contemporary art has its roots: the conceptual art in particular recognizes from its emergence in the 1960 relatives of Marcel Duchamp. Lover of puns, Duchamp valued the idea to the detriment of the art, relegating the phrase "as stupid as an artist" to the annals of history: the design of a work becomes the object of a process intellectual rather than know-how and a formal purpose. The pop art reactivated in the 1960s the concept of ready-made , became a common medium thereafter, continuing the process of disembodiment of the visual work of art begun by Duchamp. The leitmotif of diversion, transfer, echoing the rise of psychoanalysis in the early twentieth century , are constitutive of the rebellious spirit of the Dada movement , rejecting the linearity net flat objects that surround us. In December 2004 , Duchamp's Fountain was voted the most influential model of the twentieth century by five hundred people among the most influential British art medium. For the art historian Thierry de Duve , Fountain is as ready made exemplary paradigm of the artwork . "Case Richard Mutt" helps explain how the statement "this is art" can be applied to any object depending on whether the four conditions are met: Subjecting Fountain to the Society of Independent Artists is a ruse by Marcel Duchamp to embarrass the members of this institution. Either the members obey their democratic principles and they ridicule the public and the press. Or they refuse to send R. Mutt and constitute themselves as a jury in the traditional sense and there is more then independent artists On 17 November 1999 , one of the urinals (reply Schwarz) was auctioned by Sotheby's for 1,762,500 (1,677,000 euros) Dimitri Daskalopolos ( Athens ). The businessman said that for him, "it represents the origins of contemporary art " . In January 2007 , the Court of Appeal of Paris condemns Pierre Pinoncelli , which was slightly degraded the Fountain with a hammer, the three-month suspended sentence, two years probation and 14,352 to the museum for reimbursement repair costs. The Beaubourg museum had claimed 2.8 million in damages but the judges did not rule on the artistry of the work, and found that only the state could bring a civil case Subject of inspiration Some artists have used the urinal as a subject of inspiration. Thurnauer conducted a series of paintings on the theme of winged urinal, but it symbolizes a woman as a receptacle, which has added wings, symbolizing the flight of spirituality and freedom, under heavens type Quattrocento Title
History
Richard Mutt
Replicas
Posterity
Replica of 1964 certified by the artist and produced by the art dealer Arturo Schwarz , based on a photograph by Alfred Stieglitz. Porcelain, 360 480 610 mm. Aesthetics
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