Aka Marcel Duchamp is an anthology of contemporary essays by means of best students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the total diversity of Duchamp's occupation, those papers learn how Duchamp's impression grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of inventive identification and legacy, which include either own volition and contributions made through fellow artists, critics, and historians. This quantity is not just vital for its contributions to Duchamp reports and the sunshine it sheds at the better effect of Duchamp's artwork and occupation on glossy and modern paintings, but in addition for what it finds approximately how the background of paintings itself is formed through the years through transferring agendas, evolving methodologies, and new discoveries.
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Extra resources for aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)
The distant view of a river with high hills beyond is more in the Flemish fashion than any other of Leonardo’s backgrounds, but the lesser landscape to the left of the angel, dimly perceptible through the dirt and varnish, has the personal vision of the Uffizi drawing. Even more similar to his mature work are the flowers in the foreground. The artists of the quattrocento had spread their flowers like verdure tapestry, or drawn them in isolation, like botanical specimens, but Leonardo has given to his flowers and grasses something of the turbulence that he felt to be the essence of nature.
To a later period, but one in which Leonardo was still in Verrocchio’s shop, belong the silver relief of in the Opera del Duomo, and most probably the lost bronze reliefs, which Lorenzo de’ Medici sent to Mathias Corvinus. Now a characteristic which these works have most markedly in common is a love of twisting movement, either in the whole composition or in details. The St Thomas group is the first instance in the Renaissance of that complicated flow of movement through a composition, achieved by contrasted axes of the figures, which Leonardo made the chief motif of all his constructions, and which, through him, became the foundation of the mannerist style.
It is true that at a certain point he preferred to perpetuate this knowledge through notes and diagrams rather than through drawings and paintings, but the two forms of record are really inseparable and react on one another at every stage of his life. Leonardo began as an observer of surfaces. He was content to be so because he accepted, without question, the Florentine idea of harmony expressed through numbers. Although a professed adversary of Neoplatonism, he did not doubt this unchallenged assumption, and wrote, for example, in MS K, that ‘proportion is not only to be found in number and measure, but also in sounds, weights, times and places, and in every power that exists’.
aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)