http://www.quondam.com/temp/cols01.jpg
http://www.quondam.com/temp/cols02.jpg
Saw this artwork last night as I continued to read ETANT DONNES... (by
d'Harnoncourt and Hopps).
"Another "landscape" which Duchamp produced in 1959, forms a tantalizing
link between THE LARGE GLASS and ETANT DONNES... . The punning title COLS
ALITÉS, is amplified by a startling inscription: "Projet pour le modèle 1959
de 'La Mariée mise à nu par ses célibataires, même'" The drawing is more
startling still. Duchamp has drawn a background for his GLASS! The basic
elements of the GLASS, including three parallel lines across the middle
representing the Bride's Clothes, are drawn in ink, and behind them,
apparently lightly sketched in pencil, rise the irregular rolling forms of a
hilly landscape. To the right, just tangent to on blade of the Scissors atop
the chocolate Grinder, Duchamp has added an electrical pole, the common
variety that punctuates the countryside everywhere, complete with glass
insulating knobs and wires disappearing in the distance.
. . . .
For it is impossible not to take the view of undulating hills and the
explicit electrical pole, with the title pun to "Causalités," as a broad
hint at the assemblage [ie, ETANT DONNES] that was gradually nearing
completion in the Fourteenth Street studio. The pole its wires reads in
retrospect as a direct reference to the "electricity at large," which now
performs a practical function in the new tableau."
=====
I can't read French, so I don't know what Duchamp's inscription says.
Nonetheless, it's evident that Duchamp (too) thought about the presence of
electricity everywhere. [Brian, I'd like to introduce this work to
electronetwork, though perhaps you might better put it in context there.]
I'm seeing this work as another link (albeit minuscule) between where
Duchamp's work mostly is now (ie, the Philadelphia Museum of Art) and the
collection's prime location at the head of the Benjamin Franklin Parkway.
=====
Was at the Philadelphia Museum of Art yesterday taking pictures--was there
Sunday as well, but only scoped out then what I'd rather photograph on a
sunny day. Some very nice axial coincidences were there to be recorded,
which is great because "Nudist Camp at the Philadelphia Museum of Art"
centers on the axial coincidence of Jennewein's SACRED AND PROFANE LOVE and
the Duchamp collection, especially THE LARGE GLASS.
I haven't seen the Dali exhibit yet, put the public video gallery is now
playing, along with UN CHIEN ANDALOU, DESTINO (a Dali - Disney 1945
'collaboration' completed 2003). DESTINO is a joy to watch, and, though I'm
generally not crazy about Disney animation, the animated imagery is great
via Dali's imagination. I took about 2 dozen still of the video and will
post them soon.
http://www.quondam.com/temp/cols02.jpg
Saw this artwork last night as I continued to read ETANT DONNES... (by
d'Harnoncourt and Hopps).
"Another "landscape" which Duchamp produced in 1959, forms a tantalizing
link between THE LARGE GLASS and ETANT DONNES... . The punning title COLS
ALITÉS, is amplified by a startling inscription: "Projet pour le modèle 1959
de 'La Mariée mise à nu par ses célibataires, même'" The drawing is more
startling still. Duchamp has drawn a background for his GLASS! The basic
elements of the GLASS, including three parallel lines across the middle
representing the Bride's Clothes, are drawn in ink, and behind them,
apparently lightly sketched in pencil, rise the irregular rolling forms of a
hilly landscape. To the right, just tangent to on blade of the Scissors atop
the chocolate Grinder, Duchamp has added an electrical pole, the common
variety that punctuates the countryside everywhere, complete with glass
insulating knobs and wires disappearing in the distance.
. . . .
For it is impossible not to take the view of undulating hills and the
explicit electrical pole, with the title pun to "Causalités," as a broad
hint at the assemblage [ie, ETANT DONNES] that was gradually nearing
completion in the Fourteenth Street studio. The pole its wires reads in
retrospect as a direct reference to the "electricity at large," which now
performs a practical function in the new tableau."
=====
I can't read French, so I don't know what Duchamp's inscription says.
Nonetheless, it's evident that Duchamp (too) thought about the presence of
electricity everywhere. [Brian, I'd like to introduce this work to
electronetwork, though perhaps you might better put it in context there.]
I'm seeing this work as another link (albeit minuscule) between where
Duchamp's work mostly is now (ie, the Philadelphia Museum of Art) and the
collection's prime location at the head of the Benjamin Franklin Parkway.
=====
Was at the Philadelphia Museum of Art yesterday taking pictures--was there
Sunday as well, but only scoped out then what I'd rather photograph on a
sunny day. Some very nice axial coincidences were there to be recorded,
which is great because "Nudist Camp at the Philadelphia Museum of Art"
centers on the axial coincidence of Jennewein's SACRED AND PROFANE LOVE and
the Duchamp collection, especially THE LARGE GLASS.
I haven't seen the Dali exhibit yet, put the public video gallery is now
playing, along with UN CHIEN ANDALOU, DESTINO (a Dali - Disney 1945
'collaboration' completed 2003). DESTINO is a joy to watch, and, though I'm
generally not crazy about Disney animation, the animated imagery is great
via Dali's imagination. I took about 2 dozen still of the video and will
post them soon.