The History of American Art

The origins of Duchamp's painting are well understood due to the fact numerous extant pieces from 1911-12 show the movement toward it. In 1910-11 Duchamp lived in the town of Puteaux with his brothers, who referred to as themselves Raymond Duchamp-Villon and Jacques Villon (both of whom became well-known artists and exhibited inside Armory Show). They and also a circle of their friends, just like the painter Fernand LTger, had been fascinated by Cubism and designed their individual variant which was called "reasonable" Cubism. But Duchamp, possibly under the influence of his friend Francis Picabia, tended to go his own way somewhat. Pictures from this era show him developing an interest inside depiction of movement. Sad Young Man over a Train (1911), for example, shows Duchamp's venture into repetitive forms exactly where the barely discernible figure with the man recedes as if reflected inside a self-replicating series of mirror images. In some ways his ideas resembled those people on the futurists but mainly because the first Futurist exhibition did not take in location in Paris until these pictures had already been painted Duchamp appears to get created the ideas on his own. He was, however, influenced, as he later recalled, by the experimental time-lapse photographs of Etienne-Jules Marey and the serial photographs of natural motion made by Eadweard Muybridge.

But there were also those who found the work really disturbing and distasteful. Far more serious critics, including artist and critic Kenyon Cox, argued that these new movements in art represented "a tendency to abandon all discipline, all respect for tradition, and to insist that art shall be nothing but an expression in the individual [that began] from the Impressionists denying the necessity of any knowledge of type or structure" and had gotten worse as the decades passed (quoted in New York Times, 9 March, 1913, write-up in the Armory Show, n.p.). But Cox also voiced another from the essential objections that lurked behind the American public's general reaction and that was the question regardless of whether "these men [were] the victims of auto suggestion or charlatans fooling the public?" (quoted in New York Times, 9 March, 1913, document in the Armory Show, n.p.).

Green, Martin. New York 1913: The Armory Show as well as the Paterson Strike Pageant. New York: Charles Scribner's Sons, 1988.

There was some dissension as soon as it became clear what kind of show Davies and Kuhn had assembled. The show had so quite a few spectacular items from Europe that there was a fear "that the excitement in the European display would be hard to match and [a] thought that the national art were sold down the river" (Brown, 87). Indeed the invitations for jobs that had been sent out to American artists included a extremely unusual request that they identify any unusual artists of their acquaintance since the AAPS wished to "encourage non-professional in addition to professional artists, [and] to exhibit the result of any self-expression in any medium that will arrive most naturally to the individual" (quoted in Brown, 86). This possibly represented, as Brown speculates, a want to produce something over the conformity from the usual art exhibit and to tap into "talents and tendencies unknown," a hope possibly that People in america could produce one thing to rival the revolutionary works coming from Europe.

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