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Type of bind: Paperback
Dewey Decimal Number: 709
EAN num: 9780691123868
ISBN number: 0691123861
Label: Princeton University Press
Manufacturer: Princeton University Press
Quantity: 1
Page Count: 520
Printing Date: September 19, 2005
Publishing house: Princeton University Press
Sale Popularity Level: 552251
Studio: Princeton University Press
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Between 1915 and 1923, Marcel Duchamp created one of the most mystifying art works of the early twentieth century: The Bride Stripped Bare by Her Bachelors, Even (also known as the Large Glass). The work is over nine feet tall, and on its glass surface Duchamp used such unorthodox materials as lead wire, lead foil, mirror silver, and dust, in addition to more conventional oil paint and varnish. Duchamp's declared subject is the relation between the sexes, but his protagonists are biomechanical creatures: a 'Bride' in the upper panel hovers over a 'Bachelour Apparatus' in the panel below, stimulating the 'Bachelors' with 'love gasoline' for an 'electrical stripping.'
In preparation for the Large Glass, Duchamp wrote hundreds of notes, which he considered just as important as the work itself. He published 178 during his lifetime, but over 100 more notes relating to the Glass were discovered and published following his death. In this landmark book, Linda Henderson provides the very first systematic study of the Large Glass in relation to the entire corpus of Duchamp's notes for the project. Since Duchamp declared his interest in creating a 'Playful Physics,' she focuses on the scientific and technological themes that pervade the notes and the imagery of the Large Glass. In doing so, Henderson provides an unprecedented history of science as popularly known at the turn of the century, centered on late Victorian physics. In addition to electromagnetic waves, including X-rays and the Hertzian waves of wireless telegraphy, the areas of science to which Duchamp responded so creatively ranged from chemistry and classical mechanics to thermodynamics, Brownian movement, radioactivity, and atomic theory. Restored to its context and amplified by the information in the posthumously published notes, the Large Glass appears far richer and more multifaceted and witty than had ever been suspected.
Henderson also includes a close examination of Duchamp's literary and artistic models for creative invention based on science, including Alfred Jarry, Raymond Roussel, Frantisek Kupka, and Guillaume Apollinaire. The book will not only redefine scholarship on Duchamp and the Large Glass, but will be a crucial resource for historians of literature, science, and modernism.
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Marcel Duchamp, the Puck of modern art, left copious notes on the 'Large Glass', which he left 'definively unfinished' in 1923 after seven years' work. The complexity and mischief in this piece, and in Duchamp's wider approach to art, has traditionally been subjected to analysis that places teleological art history ahead of the confusion of cultural history. Linda Henderson's approach places Duchamp in the context of the scientific understanding of the time, and her comprehensive research has cut through to the core questions with which Duchamp engaged.
Looking at the 1920s from our time, we are afflicted by a cultural blindness to ideas that have fallen from favour. Henderson looks beyond the prejudices of orthodoxy, and considers Duchamp's own writings and the popular understanding of science and technology that held sway eighty years ago. This clarifies aspects of the 'Large Glass' on which other writers have been silent; the significance of early wireless technology, the lingering concept of the 'ether', and early cathode-tube researches.
Despite the density and unfamiliarity of the ideas presented, and the inherent difficulty of explaining Duchamp's conceptual barrage, Henderson lively and clear approach is an exemplary and honest engagement with the conditions of art production. In no sense does she engineer the evidence so that a streamlined art-historical position can purr smoothly; she presents the material that informed Duchamp's ideas, shows how he processed this material, and argues persuasively for a Duchamp who responded to his setting rather than a deified modernist who worked in the vacuum of his own genius. Good art history enhances our understanding of art, history, and society. Henderson's honesty, and her sense of scholarly security, make for an invaluable contribution to the literature on a crucial and cunning giant of modern art.
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