I was in Philadelphia recently and visited the Philadelphia Museum of Art for the first time. I was really excited to finally see what I believe is the largest collection of Marcel Duchamp’s artwork anywhere in the world. Believe me, it did not disappoint. I was also thrilled to see the cycle of paintings that Cy Twombly did around the theme of the fall of Troy and the death of Achilles. Today however, I’m focusing on Duchamp. Marcel Duchamp if your nasty.
I’m assuming that the readership of this blog is versed well enough in the story (legend if you will) of The Large Glass, so I will only do a quick re-cap. The Large Glass is an artwork that is painted on glass, however, I would think that a painting would actually involve paint – MD instead used dust in stand oil, or linseed oil (I can never remember). The images used in the painting are self referential to Duchamp’s work, and consists of two panels one on top of the other similar to a double hung window. The Large Glass remained “unfinished” but was sold and shipped to the collector that bought it (Walter Arensberg, if I’m incorrect, let me know) however upon opening the crate, the glass had broken, it was at this point Duchamp considered the work finished.
Anyway, I finally get to spend some time with this artwork that has defined, defied, aroused and confused so many. This artwork has become almost mythical in my mind to the point where I doubted that I would ever really see it. It is the most majestic failure and the most amazing masterpiece that I have ever seen. It is just that simple a piece of art.
Later that night I was having a conversation with Douglas Witmer and we were talking about what would be an interesting project to assign if you were an art teacher – Douglas said he thought it would be really interesting to set up an assignment that defined who you were not. This was discussed farther as we both agreed that there is a serious split as it pertains to modern into contemporary art. The split was – I think we both agreed was Picasso versus Mattise. but I Can see where Duchamp broke with Picasso after cubism and found himself in his own place. I’ve been thinking about this idea and more and more I find myself drawn to the forks in the road, and how they make the experience of just doing something as decadent as enjoying looking at art all the more interesting.
A quick note: is there a friendlier museum than The Philadelphia Museum of Art? I doubt it. Everyone from the front desk folks to the security guards were just so friendly – it blew me away, just how nice the folks are there.
The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23, Oil, varnish, lead foil, lead wire, and dust on two glass panels, 9 feet 1 1/4 inches x 69 1/4 inches (277.5 x 175.9 cm)
© Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp