CONTENTS 6 8
FOREWORD ACKNOWLEDGEMENTS
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SALVADOR DALÍ, TENOR SAX MARCEL DUCHAMP, DRUMS ED RUSCHA
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INTRODUCTION DAWN ADES AND WILLIAM JEFFETT
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REPRESSION IN PAINTING CÉCILE DEBRAY
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READYMADES, SCULPTURES, OBJECTS: ‘A HAPPY BLASPHEMY’ WILLIAM JEFFETT
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SYSTEMATISING CONFUSION: DUCHAMP AND DALÍ, ‘WRITERS’ GAVIN PARKINSON
CATALOGUE 56 IDENTITY 68 GENDER AND PUBLIC PERSONAE 82 ANTI-ART AND MODERN ART 98 THE IRONIC, THE COMIC AND THE ABSURD 104 THE SURREALIST BULLFIGHT 106 114 140 144 150
EROTICISM EROTIC OBJECTS ÉTANT DONNÉS THE ENIGMA OF WILLIAM TELL THE TRAGIC MYTH OF MILLET’S ANGELUS
152 SCIENCE AND RELIGION 160 THE BRIDE STRIPPED BARE BY HER BACHELORS, EVEN 168 PERSPECTIVE 172 MEASUREMENT 178 OPTICAL ILLUSIONS
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PHOTOGRAPHY AND FILM DAWN ADES
194 CHRONOLOGY MONTSE AGUER TEIXIDOR AND CARME RUIZ GONZÁLEZ
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A CHESS GAME PILAR PARCERISAS
206 THE DALÍ THEATRE-MUSEUM AS A READYMADE MONTSE AGUER TEIXIDOR AND CARME RUIZ GONZÁLEZ 210 EXHIBITIONS FEATURING WORKS BY DALÍ AND DUCHAMP 212 ENDNOTES 216 SELECT BIBLIOGRAPHY 218 LENDERS TO THE EXHIBITION 219 PHOTOGRAPHIC ACKNOWLEDGEMENTS 220 INDEX
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FOREWORD To assemble the critical works of two essential artists of the twentieth century requires an exhibition theme of the most compelling nature and the collaboration of key institutions globally. The Dalí Museum and the Royal Academy of Arts were driven by the excitement of putting together two artists who are arguably the antipodes of twentieth-century art: Dalí the pictorialist and Duchamp the progenitor of conceptual art. The challenge in placing their work in a context demonstrating mutuality as well as difference is nothing less than a revision of fundamental assumptions about the art of this era. We are fortunate to have the support of those institutions holding the work and enabling research into Dalí and Duchamp; the commitment as collaborating partners made by the Fundació Gala-Salvador Dalí and the Marcel Duchamp Archive has been essential and we extend our boundless appreciation to Montse Aguer Teixidor and Antoine Monnier of those institutions, as well as to Tim Marlow, Artistic Director of the Royal Academy, for his vision in championing this project. Our museums recognise proudly the confidence and support of our governing boards in enabling this exhibition. Through key works – including Duchamp's Large Glass and Dalí's Christ of St John of the Cross – a similar artistic and philosophical aspiration is evidenced. A remarkable discovery prompted by the works in this exhibition is that the two artists' projects equally strive to liberate the mind of the viewer. Dalí’s use of multiple images and Duchamp’s seminal work of unresolvable visual and verbal constructions each propose a world of proliferating and
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unfixed possibility. Both identified a fracture in the premises of modernism and took on the enormous task of resetting the course of art. If it may be said that Duchamp broke down the barriers between art and life, Dalí in a similarly bold manner reset the parameters of art to correspond with the discoveries of psychology and physics. Our highest hope is that younger audiences will see past the categories imposed in the past and understand the singularity of impulses within this body of work. In this task we have been greatly aided by the acute scholarship of Dawn Ades and William Jeffett, who have curated the exhibition with Sarah Lea. The additional contributors to our catalogue, Montse Aguer Teixidor, Cécile Debray, Pilar Parcerisas, Gavin Parkinson, Carme Ruiz González and Michael R. Taylor, provide essential insights. We are also delighted to have the reflections of Ed Ruscha Hon RA, whose own work so compellingly advances the proposals of both artists. Special thanks are due to all those involved in the curation and organisation of the exhibition at the Royal Academy of Arts and The Dalí Museum. We also thank Royal Academy Publications for producing this catalogue. The Royal Academy is grateful to White & Case LLP and Jake and Hélène Marie Shafran for their support, which has enabled us in our project. Christopher Le Brun PRA President, Royal Academy of Arts Hank Hine Director, The Dalí Museum, St Petersburg, Florida
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SAL ADOR DAL TENOR SA ARCEL D C A P DR S ED R SC A
Fig. 1 Andy arhol, een Test al ado al , 1966. 16mm film, black and white, silent, minutes 7 seconds at 16 frames per second. The Andy arhol Museum, Pittsburgh Fig. 2 Andy arhol, een Test a el u ha , 1966. 16mm film, black and white, silent, 4 minutes 4 seconds at 16 frames per second. The Andy arhol Museum, Pittsburgh
The question might be: how could two completely and utterly different human beings be so aligned with the course and dynamics of the twentieth century These two artists breathed the same air, saw the same things, stood on the same ground, listened to the same political discourse and ate the same basic foods. Both blew our hair back with their creations. This happened during a stretch of time of great world struggle, and eventually we see the magnitude of their combined works. The curator alter Hopps introduced me to Marcel Duchamp in 196 during the installation of his retrospective at the Pasadena Art Museum. He wore a suit and tie and was smoking a cigar in the galleries, which was permitted in those days. He was friendly and warm and I noticed that he held his cigar between his thumb and his forefinger, which was a very European gesture. Another time, I saw him holding the cigar between his forefinger and his middle finger, which I saw as a very American trait. That led me to believe that he was embracing an American custom and thus had embraced America. He held in balance those elements that were hapha ard versus those that were very carefully thought out, all the while declaring that the viewer of the art was also part of the final product, and that extended to the critic who likened his masterpiece, ude es end ng a ta ase o , to the explosion of a shingle factory’.1 His vision that the viewer completes the necessary cycle to make the art official and resolved is nothing short of profound. Thundering tons of polemics and critique regarding his creations have followed Duchamp throughout his whole life and after. e can be exhausted by these discourses to the point of just wanting to look at his works for what we see, and be done with all the words about them. If Duchamp missed attending the Governor’s Ball or some such other event he would make up for it by creating something equally or more elegant in his studio. This leads to the assumption of time well spent in his life. ome of his friends commented that he lived every second wisely. The simple act of smoking a cigar, his mind racing faster than the clock ticks, shows us a smile on his face as he exhales, a job well done. A panel discussion took place in 1949 at the an Francisco Museum of Art involving Duchamp, the architect Frank loyd right and others. Ever the gentleman, Duchamp responds to Frank loyd right in this way:
I’m sure Duchamp doesn’t himself regard the ude es end ng a ta ase a great picture now; I am sure he doesn’t. I beg your pardon, sir. I regard Mr Duchamp as an honest man; and I am glad that he still swears by his original mistakes. On the other hand, forty years have gone by, and time, after all, is an important factor in the decision whether a thing is good or bad. That’s what I imagined you felt when you did the so-called ‘ ude Descending the tair Case’ s . ow, when you made your first architecture, did you know whether it was going to be a good thing – o, my first was kindergartenish, and I was learning to walk. o was I. That’s what I assume … now that you walk, Marcel Duchamp, do you still regard it as a great picture More so. I am in no such position regarding my first efforts.2 Frank loyd right disturbed most of the panellists, among them the composer Darius Milhaud, by calling modern art degenerate. He was particularly critical of modern artists’ use of primitive art as a stylistic source. Duchamp took exception to right’s remarks: hy do you call it degeneracy ou seek in the primitive what might be good to take. And healthy. ould you say that homosexuality was degenerate o, it is not degenerate. ou would say that this movement which we call modern art and painting has been greatly … in debt to homosexualism I admit it, but – not in your terms. To me it is significant. I believe that the homosexual public has shown more interest or curiosity for modern art than the heterosexual: so it happened but it does not involve modern art itself. 11
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measured voice yelled out ‘ - - - - like a jackhammer - - - oom erveece’ and ordered champagne. A homeless man from the street was brought in and announced that he made art out of garbage, which Dalí seemed to have great appreciation for, then the doorbell rang and a very old man appeared in the entryway. He began to approach our group painfully slowly, taking 0 seconds to advance one foot. Finally, Dalí, impatient with the progress of his friend and publisher, embraced the man, who was in his very late nineties, and said: ‘Come meet Mr kira … before he dies ’ It might have been Dalí’s habit to make up false names for people he had just met. In any case, mine was ‘Mr Genestre’. On leaving, he gave me a sort of benediction with his thumb between my eyes like a priest would do. Four days after my return to os Angeles, a nasty boil appeared on the exact spot of the benediction. Dalí introduces himself to us as a divine creature set upon this earth for us to be confounded, rather like a Muhammad Ali of an earlier age. He was extremely adept at ad-hoc split-second book signing and chicken-scratch creations. I came across a drawn-on cloth book cover that Dalí allegedly made in 1965 (fig. 6). It was a short series of swift lines with his signature at the top. It had swashbuckling, orro-like swinging strokes and my ga e would not deviate from a detail that has two perfectly placed, overlapped lines with no evidence of any over-bulge,
Duchamp later added: ‘The very fact that modern art is so much liked and disliked is sufficient proof of its vitality.’4 The artist George Herms made a comment to consider: ‘The great gift Duchamp gave all artists, I feel, is if you take the word a nte and change one letter it becomes o nte . As a teacher I try to emphasise that this is a beautiful world we live in and it’s as important to point out what is already in existence and beautiful as it is to come up with a product. That’s the gift I would like to thank Duchamp for.’5 o stranger to multiple editions of objects, Duchamp produced several throughout his lifetime. My attention is drawn to n to e of 1964. I concentrate on the underside rather than the topside of the work, with its free-form, unplanned mould marks and edition signatures (figs –5). They contrast subtly from one to the next with their variations. Duchamp, with his total concentration towards his creations, must have fretted over, savoured and rhapsodised over the differences and similarities of the ‘forgotten’ side of his n to e . I met alvador Dalí in 1972 at the t egis Hotel in ew ork City. I was taken there by my friend ltra iolet (Isabelle Dufresne), who was, at that time, somewhat of a muse to the wild-man artist from pain. There were maybe a do en other people visiting him at the same time. As if to make an attention-getting presentation, he picked up the room phone and in a slow and very 12
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Fig. Marcel Duchamp, n to e , 1964 1967 (verso). Cast bron e multiple with incised signature and date on the reverse, numbered 17 100, d. 6.5 cm. Ed uscha Collection Fig. 4 Marcel Duchamp, n to e , 1964 1981 (verso). Cast bron e multiple with cast-in signature and date on the reverse. umbered 64 100 ( chwar , 608b), d. 6.2 cm. Private collection Fig. 5 Marcel Duchamp, n to e 1964 1981 (verso). Polished stainless-steel cast multiple, with cast-in signature and date on the reverse. umbered 72 100 ( chwar , 608b), d. 6 cm. Private collection
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READYMADES, SCULPTURES, OBJECTS: ‘A HAPPY BLASPHEMY’ WILLIAM JEFFETT
Opposite: Fig. 18 Salvador Dalí, Mannequin, 'International Exhibition of Surrealism', Galerie Beaux-Arts, Paris, 1938. Photograph by Denise Bellon. Fonds Photographique Denise Bellon, Paris
Above: Fig. 19 Marcel Duchamp in collaboration with Man Ray, Belle Haleine: Eau de Voilette (Beautiful Breath: Veil Water), 1920/21 (inscribed in 1964). Imitated rectified readymade, collage, 29.6 x 20 cm. Private collection
It may seem perverse to open a catalogue on the works of two artists who flouted the traditional categories of painting and sculpture with essays on ‘mediums’. However, it is precisely in the ways that these traditional mediums and their associated terminologies were challenged and superseded that some of the most exciting and far-reaching experiments in twentieth-century art can be understood. If the ‘challenge to painting’ was to an extent made and received within that tradition, the challenge posed by the three-dimensional experiments represented by the readymades and the Surrealist object moved beyond the parameters of sculpture altogether and into a world of construction, materials and spaces hitherto foreign to it. It is true that collage had disturbed the distinction between the two- and the three-dimensional and, with its introduction of extra-pictorial and readymade elements into two-dimensional works, had shattered the unity and identity of painting, as Aragon argued in his essay for the 1930 exhibition of collages, ‘La Peinture au défi’ ('A Challenge to Painting'), at the Goemans Gallery in Paris. This was the first exhibition in which Duchamp and Dalí coincided: Duchamp was represented with two versions of L.H.O.O.Q. (1930, Centre Georges Pompidou, and cat. 28), Pharmacy (cat. 57), Eau de Voilette (fig. 19) and Monte Carlo Bond (cat. 38), and Dalí with The First Days of Spring (cat. 59). Dalí’s use of collage, Aragon says, defies interpretation: the bits of pasted print look painted while the painted parts resemble collage. Dalí employs his extraordinary facility to mock ‘the despair of the painter in the face of the inimitable’. The ‘incoherence’ of The First Days of Spring is characteristic of collage, Aragon writes, implying that its truncated narrative inheres in the jumble of mediums – paint, stencil, photograph, print – before concluding: ‘Dalí is associated with the anti-pictorial spirit which … today invades painting.’ 1 The difficulty of accounting for the collages in conventional terms is a positive quality for Aragon, as a Surrealist. Regarding Duchamp’s five works in the Goemans Gallery show, Aragon opposes the apparent negation of Duchamp’s and Picabia’s Dada activities with the positive notion of the ‘personality of choice’, an idea first picked up by Breton from the ‘Richard Mutt Case’ of 1917 (cat. 101). Aragon doesn’t distinguish between the two-dimensional readymade Pharmacy and the urinal (which he mistakenly describes as signed by 27
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Arthur ravan). So the question arises, are there distinctions to be made between the two-dimensional and the three-dimensional readymades, and if so, what are they In Duchamp’s many later comments on his choices for his readymades in interviews, there are constants and variations. As discussed in the Introduction, the first readymades were experiments, created in the privacy of the studio. Duchamp described ic cle heel (cat. 77), an ironic ‘Futurist’ sculpture, as a gadget. Still more of a construction, or what he later called an ‘assisted readymade’ the detached wheel mounted on a stool resembling a sculptor’s support ic cle heel introduced movement, which was to be important for the concept of the Surrealist object. When Duchamp spun it in his studio, he said, it gave him pleasure, like watching a fire in a fireplace.2 The first pure readymade, ottle ack (1914 cats 58, 106), was a then-familiar domestic object, mass-produced, selected and purchased by Duchamp, and unaltered except for the addition of an inscription. A point he reiterates is that the basic condition for choosing a readymade was that he should remain aesthetically indifferent to the object. It was a way, he said, of getting rid of taste, as well as of dispensing with the ‘ atte’, the painter’s hand. ha mac , of course, is a two-dimensional readymade, a kitsch calendar image chosen by Duchamp who added the red and green dots that introduce an optical dimension and as such it is ‘mass-produced art’. Most of his other readymades were mass-produced utilitarian objects and are thus much more ambiguous in terms of status. And as the possibilities were endless, a new question arose, prompting a note: ‘ imit the no. of readymades yearly ( )’3 Is there any way, Duchamp was once asked, that a readymade can be considered a work of art He replied: That is the very difficult point, because art first has to be defined. All right, can we try to define art We have tried, everyone has tried, and every century there is a new definition of art. I mean that there is no one essential that is good for all centuries. So if we accept the idea that trying not to define art is a legitimate conception, then the readymade can be seen as a sort of irony, or an attempt at showing the futility of trying to define art, because there it is, a thing that I call art. I didn’t even make it myself, as we know art means to make, hand make, to make by hand. It’s a hand-made product of man, and there instead of making, I take it ready-made, even though it was made in a factory. But it is not made by hand, so it is a form of denying the possibility of defining art.4 iberated from the fixed ideas of what makes a work a work of art, and from standard ideas of the appropriate medium, Duchamp, between working on he a ge 28
lass and occasionally choosing a readymade, experimented with materials. In 1918, on the eve of leaving ew ork for Buenos Aires (the nited States having finally entered the First World War), he made a sculpture from multi-coloured rubber bathing caps. ‘I cut them into little irregular strips, stuck them together, not flat, in the middle of my studio (in the air) and attached them with string to the various walls and nails in my studio. It looks like a kind of multi-coloured spider’s web.’5 This was, literally, sculpture in an expanded sense. He took the work with him to Argentina and when he came to assemble the ingredients for his portable museum, the o te-enalise (cat. 62), he drew in and coloured the suspended rubber web on a photograph of his room in Buenos Aires and named it a elling cul tu e (fig. 20). Escaping not just conventional materials but also the placing of objects in space, photographs of his ew ork studio in c. 1918 show ‘ eady mades’ including ountain (cat. 102) suspended from the ceiling (figs 22, 23). onetheless, each readymade, concentrated and minimal as it is, has a specific character. ottle ack, though nominally a mere utilitarian apparatus, can be read, when the wine bottles are absent, as a fetishistic object presenting spike-like, phallic forms, even recalling African kisi sculptures.6 Similarly, the infamous ountain is more than a transgression of the category of the craft aspect of an artwork: in its
Fig. 20 Marcel Duchamp, photograph of a elling cul tu e (1918 original lost rubber bathing caps, dimensions variable) reproduction coloured 1940 for the o te-en- alise (cat. 62), 16.6 x 17.3 cm. ollection Hummel, ienna
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SYSTEMATISING CONFUSION: DUCHAMP AND DALÍ, ‘WRITERS’ GAVIN PARKINSON
of my “writings” at [Eric] Losfeld’s (!),’ soon to be published as Salt Seller: The Essential Writings of Marcel Duchamp (1959/75) in doing so he placed a strict limit on any claim that might be made for him as a ‘writer’ in the ways we understand that term.2 However far each of them was drawn towards or put off by writing, there is no doubt that their earliest ventures into text were determined by vanguard art, yet in entirely contradictory ways. Duchamp’s minimal output began in 1912 when he was painting in a style deeply indebted to Cubism but was afraid that his art and thinking were, indeed, becoming overly dependent on the contemporary avant-garde, and was wondering how to work beyond its prescriptions and even those of art itself. In May or June that year he was present at one of the few performances of Roussel’s play Impressions of Africa (fig. 31) with Francis Picabia, Gabrielle Buffet-Picabia, Michel Leiris and perhaps the poet and critic Guillaume Apollinaire (accounts differ), commenting much later:
Fig. 31 Roussel's Impressions of Africa performed at Théâtre Antoine, Paris, 1912. Collection John Ashbery, Flow Chart Foundation, New York Opposite: detail of cat. 43
From an early age, Salvador Dalí aspired to be known and remembered as a writer as much as an artist, whereas Marcel Duchamp seems to have travelled gradually to a position of indifference towards both vocations, following a youthful enthusiasm for painting that ended in 1912, the same year that writing (that of Raymond Roussel, followed by his own) altered the path of his art irrevocably. Writing of many kinds was crucial to the art of both, enhancing it in diverse ways, even if at times the assumed profession of ‘writer’ or the onerous task of writing weighed heavily upon it or was experienced as a distraction, unwanted responsibility or even embarrassment. For Dalí, at certain times, writing could take up at least as much of his day as painting. From 1941–44, for instance, ‘Dalí never stopped writing’, according to Robert and Nicolas Descharnes.1 Meanwhile, Duchamp’s minimalist approach to writing, from his notes to his use of text in his art to his puns and pithy appraisals of other artists – carried out from 1943 to 1949 for the catalogue of the Société Anonyme (the collection of modern art he created with Katherine S. Dreier) – apparently extended to his reluctant, delayed and rather functional letters. In one of them, addressed to the artist and writer Marcel Jean in 1958, soon after Duchamp and Dalí had renewed their lapsed friendship of the 1930s, Duchamp commented self-mockingly on the brevity of his corpus, joking about the ‘book that [Michel] Sanouillet is organising
It was fundamentally Roussel who was responsible for my glass, The Bride Stripped Bare by Her Bachelors, Even. From his Impressions of Africa I got the general approach. This play of his which I saw with Apollinaire helped me greatly on one side of my expression. I saw at once I could use Roussel as an influence. I felt that as a painter it was much better to be influenced by a writer than by another painter. And Roussel showed me the way.3 So Duchamp encountered the writings of Roussel, who propagated bizarre machines as though they were myths for the modern age and who used the pun as a device to generate narrative, at a crucial moment and in relevant company. In October that year, he travelled alongside Picabia and Apollinaire on a long and now-legendary road trip from Paris to the Jura Mountains in Switzerland. He fell ill in the car on the way back, beginning what was to become a rather frugal written œuvre with a set of five cryptic, poetic notes. These elaborate a personal mythology that had begun to emerge a few months earlier in the titles The King and Queen Surrounded by Swift Nudes (1912) and The Passage from Virgin to Bride (1912), and are the first textual stirrings of The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) of 1915–23: 35
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The machine with 5 hearts, the pure child, of nickel and platinum, must dominate the ura Paris road. On the one hand, the chief of the 5 nudes will be ahead of the four other nudes to ards this ura Paris road. On the other hand, the headlight child will be the instrument conquering this ura Paris road. This headlight child could, graphically, be a comet, which would have its tail in front, this tail being an appendage of the headlight child appendage which absorbs by crushing (gold dust, graphically) this ura Paris road.4 This is an extract from the jottings, giving first evidence of a casual practice through which Duchamp would turn over his thoughts about The Large Glass during its conception and construction. Among other things, his engagement of the written aper alongside the more familiar artist’s sketch or study brought about the mythic content of Mari e (Bride) and libataires (Bachelors) through punning play on his own name / in a sentence, La Mari e ise n par ses c libataires e, that sounds more like the concluding line of a poem than the title of a painting. Other projects and interventions in and beyond art emerged from these scribbled, usually brief and often repetitive perambulations. These included Duchamp’s idea to choose the first readymades, which sometimes bore writing, as in the inscription on o b (1916) ‘ ' ’ (‘Three or four drops of height have nothing to do with savagery’) and in the title given to (and appended onto) the snow shovel n Ad ance o the Broken Ar (cat. 103). lsewhere, Duchamp combined fragments of script in French and nglish on the upper and lower surfaces of the assisted readymade ith idden oise (cat. 108), and there are works of the same period formed entirely from writing, such as The (1915) and Rende o s o S nday ebr ary (fig. 32). In all of these, the texts refuse to make sense and can be understood collectively, therefore, as a droll commentary on Duchamp’s struggle with a new language following his move to ew ork from Paris in 1915. Many of the notes written during the period of The Large Glass and the readymades were reproduced as facsimiles and collected in the Box o (fig. 38), the Green Box (1934; cat. 124) and the hite Box (1966), showing the value Duchamp placed in them but displaying barely any similarity in their form with more conventional, academic note-taking, even though Duchamp did get the chance to carry out such research on the fourth dimension, colour theory and other topics when he took a librarian’s job at the Bibliothèque Sainte- eneviève in Paris in 1913. By contrast with Duchamp’s attempt from 1912 onwards to situate himself outside the burgeoning clichés of the avant-garde, to the point of questioning 36
art itself by drawing upon a writer like Roussel and initiating a practice of note-taking, Dalí’s voluminous writings (see fig. 33), usually said to originate in the late 1920s, came initially from a desire to explain and promote his current painting. They were therefore an attempt to access, not desert, the circles of contemporary art, notably in his case the orbit of Surrealism. Spanning a far wider array of genres than Duchamp’s writings including theoretical and philosophical forays, psychoanalytic speculations, art historical investigations, cultural review and commentary, manifestos, poetry, film scripts, fiction and autobiography Dalí’s writings provide a peculiar study in positionality from the outset. In their acceptance of the genres of writing and in spite of their often eccentric form, address, subjectmatter and conclusions, the texts of the 1920s and 1930s obviously partake of the non-conformist, experimental styles of modernism and the avantgarde, while showing an obedience in their aim at affiliation and an effort towards acceptance by that vanguard in a way that Duchamp’s never did.5
Fig. 32 Marcel Duchamp, Rende o s d Di anche rier (Rende o s o S nday ebr ary ), 1916. Typewritten text with black ink corrections on four postcards taped together, 28.6 x 14.4 cm. Philadelphia Museum of Art. The Louise and alter Arensberg Collection, 1950-134-983
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PHOTOGRAPHY AND FILM DAWN ADES
Photography and film appealed to both Duchamp and Dalí in a number of different ways, not least as alternatives and challenges to painting. Their engagement was at its most intense during the 1920s, when artists across the spectrum of the avant-gardes turned to these mediums as radical new forms of expression. Both were of the view that photography and film had superseded painting. s Duchamp wrote to lfred tieglit in response to the latter’s questionnaire ‘ an a photograph have the significance of art ’ ou know exactly what I think about photography I would like to see it make people despise painting until something else will make photography unbearable 1
Opposite ig. 36 Marcel Duchamp, reen ay, installation in The urrealist Exhibition , alerie Maeght, Paris, 1947. Photograph by Denise Bellon. onds Photographique Denise Bellon, Paris
ig. 37 Marcel Duchamp, de escending a taircase o , 1912. Oil on canvas, 147 x 89.2 cm. Philadelphia Museum of rt. The ouise and Walter rensberg ollection, 1950-134-59
Photography no doubt was a factor in Duchamp’s withdrawal from painting, as his comment indicates. But the ways he made use of it were far from straightforward. is letter to tieglit was written four years after he had made his last oil painting on canvas, m’ (1918; fig. 87). de escending a taircase, especially o (fig. 37), was a response to the problem of motion in painting, amalgamating experiments in photographing movement (the photochronography of Marey and Muybridge) with cinema which was still then, as Duchamp later commented, in its infancy.2 Duchamp was undoubtedly stretching painting, pushing it beyond what it could naturally accomplish, before giving it up. Both Duchamp’s nine-foot-high glass painting, he ride tripped are by er achelors ven ( he Large lass; fig. 81), and his Notes referring to the work are shot through with photographic allusions and analogies. he Large lass, on which Duchamp worked from 1915 to 1923, is not only a rejection of canvas as a support for pigment but an active engagement with photography. The glass plates themselves are huge analogues of the plates then used in cameras, and a possible allusion in one of the first notes, ‘ ind of ubtitle’, could be to the timing of the exposure of light on the prepared photographic plates se ‘delay’ instead of picture or painting; picture on glass becomes delay in glass but delay in glass does not mean picture on glass
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The first set of notes Duchamp assembled and published in an edition of five known as he o o (fig. 38), was placed inside cardboard containers that had originally stored photographic plates and paper fabricated by umi re, odak and other manufacturers.3 The sixteen notes were reproduced photographically, and one of the Boxes contained three gelatin-silver prints of the tandard toppages (cat. 133). lthough Duchamp rarely used still photography himself, relying instead on others and above all on his friend Man ay, it was a fundamental element in his operations from 1917 on.4 tieglit took the photo of Fo ntain in 1917 for reproduction in the Dada journal he lind an; Man ay photographed he Large lass and helped to give rose lavy a visible presence with two series of photographs (1921), as well as taking the images of Duchamp that figured in other identity games, such as the ‘homme savon’ (‘soap man’), for onte arlo ond (cat. 38).5 On at least one occasion Duchamp adapted a readymade photograph he on ada was the frontispiece image for a religious pamphlet, which he annotated and signed ‘The Non-Dada, affectionately, rose’ and sent to Man ay (fig. 39). e took the occasional photograph himself his portrait photograph of the merican painter harles heeler was published in anity Fair in March 1923. Infrequently in later years works appeared that not only used photography but did so in unusual ways that took advantage of the medium’s unique characteristics. Thus, as one of his 42
contributions to the 1947 International Exhibition of urrealism, Duchamp gave instructions to the architect and designer rederick iesler to place behind a circular hole in the green canvas that lined the all of uperstitions two photographs of a seascape and a sky, separated by a neon tube that glowed green (fig. 36). reen ay was dismantled at the end of the exhibition, so it is difficult fully to judge its effect, but the round ‘frame’ resembles a camera lens, through which the viewer would glimpse what is ‘in reality’ beyond, and about to be captured in the snapshot. The momentary flash of the ‘green ray’, a phenomenon that occurs under certain atmospheric conditions at the moment the sun sets over the sea, is in some ways analogous to the speed of the modern camera and its flash. But the two photographs have a greater resemblance to early ‘combination photographs’, from a time when it was not possible to photograph on a single plate both sky and land- or seascape, and when exposure times were lengthy. nother instance is a photograph of one of Duchamp’s erotic objects, Female Fig Lea (cat. 86), as reproduced on the cover of Le rr alisme m me (fig. 40). The tiny galvanised plaster sculpture was placed upside down and photographed in such a way that it appears convex, rather than concave as it actually is. One might see in Duchamp’s uses of photography a doubling back of the medium’s aims and means. aving abandoned painting, partly because, as ndr Breton wrote, it had been ‘far outdistanced by photography in the pure and simple
ig. 38 Marcel Duchamp, he o o , 1913 14. ommercial cardboard photographic supply box containing photographic facsimiles of sixteen manuscript notes and the drawing Avoir l apprenti dans le soleil ( o ave the Apprentice in the n) mounted on boards, and one photographic facsimile of the drawing diocrit ( ediocrity), unmounted, 24.9 x 18.9 x 3.5 cm. Philadelphia Museum of rt. ift of Mme Marcel Duchamp, 1991 ig. 39 Marcel Duchamp, he on ada, 1922. Printed brochure with ink inscription. National alleries of cotland, Edinburgh. Bequeathed by abrielle eiller 1995
PHOTOGRAPHY AND FILM
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A CHESS GAME PILAR PARCERISAS
Fig. 48 Baron von Kempelen (Charles Dullin) presents his chess-playing automaton to the Russian Imperial Court. Still from the film Le oueur d’échecs (dir. Raymond Bernard), 1926–27. Photoplay Productions Ltd Opposite: detail of cat. 42
Walter Benjamin begins his essay On the Concept of istory with a description of the chess-playing automaton that Wolfgang von Kempelen presented to Maria Theresa of Austria in 1770, which was the inspiration for Edgar Allan Poe’s story ‘Maelzel’s Chess Player’ (1836). Known as the ‘Turk’, this automaton won games against Benjamin Franklin, Catherine II of Russia and even Napoleon, and was acclaimed as the first machine capable of beating a human being. Benjamin writes: ‘There was once, we know, an automaton constructed in such a way that it could respond to every move by a chess player with a countermove that would ensure the winning of the game. A puppet wearing Turkish attire and with a hookah in his mouth sat before a chessboard placed on a large table. A system of mirrors created the illusion that this table was transparent on all sides. Actually, a hunchbacked dwarf – a master at chess – sat inside and guided the puppet’s hand by means of strings. One can imagine a philosophic counterpart to this apparatus. The puppet, called historical materialism is to win all the time. It can easily be a match for anyone if it enlists the services of theology, which today, as we know, is small and ugly, and has to keep out of sight.’ 1 Dialectical materialism was the machine that moved and gave meaning to history, as in a game of chess. Automata, mostly created as entertainments to divert and amuse kings and queens, were the forerunners of the imaginary machines that appear in literary fiction as artefacts that simulate sentient human life. What we have come to know as machines célibataires held a special fascination for the Surrealists, and ‘celibate machines’ of one kind or another were created by Alfred Jarry, Edgar Allan Poe, Raymond Roussel, Lautréamont, Franz Kafka and Marcel Duchamp. Michel Carrouges defined the machine célibataire as a fantastic image that transforms love into the mechanics of death, and analysed the myth of such artefacts as a union of the empire of machinism and the realm of terror.2 The Surrealists adopted as a slogan a phrase from Lautréamont’s Les Chants de aldoror (1869): ‘the chance meeting on a dissecting table of a sewing machine and an umbrella ’ ening ame: aymond o ssel Marcel Duchamp and Salvador Dalí were great admirers of Raymond Roussel (1877–1933). In 1912 Duchamp, with Picabia and others, attended a 49
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performance of Roussel’s mpressions of Africa, organised by Apollinaire at the Thé tre Antoine in Paris, and acknowledged it as an influence on the conception of The Large Glass (1915–23; fig. 81). In 1932 Dalí sent Roussel his film script Babaouo with a dedication and a request that he read and consider it. Roussel, an admirer of Jules Verne, of automatons and puppetry, was a model, an inspiration in his ability to construct literary beauty through the semantic force of his vocabulary. Homonyms or homophones enable apparently similar phrases to have radically different meanings and generate fictions in and of themselves. In his posthumously published Comment j’ai écrit certains de mes livres (1935) Roussel explains the genesis of his method and gives as an example two sentences in which key words utterly transform the meaning of the sentence with the change of a single letter: ‘Les lettres du blanc sur les bandes du vieux billard’ and ‘Les lettres du blanc sur les bandes du vieux pillard’.3 In Roussel words are double-bottomed boxes whose cunning mechanism creates an endless series of imaginary combinations. Foucault situated the experience of reading Roussel in ‘the tropological space of the vocabulary’, which inaugurates a machine célibataire of language.4 This Rousselian model is a key to the word games of the Surrealists, and in particular to the work of Duchamp and Dalí. By means of the paranoiac-critical method, Dalí made the pictorial surface the tropological space of his visual vocabulary, an irrational and delirious method that doubles the image on the basis of dream or a paranoid reality. Duchamp also makes The Large Glass a flat, transparent ‘tropological’ space, like the effect created by the mirror system on the chess table of Kempelen’s ‘Turk’.5 The Cubists had seen chess as a way of getting beyond the historical illusionism of classical perspective in the pursuit of a fourth dimension. For Duchamp chess was a way of getting beyond painting as a system of representation in his pursuit of a destiny for his own life. It was ‘mechanical sculpture’, a machine célibataire in which everything takes place in the brain: ‘I wanted to put painting once again at the service of the mind.’6 ‘A game of chess is a visual and plastic thing,’ he said to Pierre Cabanne,7 and continued: ‘In chess there are some extremely beautiful things in the domain of movement It’s the imagining of the movement or the gesture that makes the beauty, in this case. It’s completely in one’s grey matter.’8 To Truman Capote’s question ‘Why isn’t my playing chess an art activity?’, Duchamp replied that ‘a chess game is very plastic. You construct it. It’s mechanical sculpture, and with chess one creates beautiful problems; and that beauty is made with the head and hands.’9 In the 1920s and 1930s a number of artists and writers composed imaginary and even utopian moves and manoeuvres for the ancient game. Raymond Roussel published his ‘Mat du fou et du cavalier’ 50
A
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('Mate of the bishop and the knight'; 1932),10 which was commented on by the grandmaster Savielly Tartakower, who played a match with Duchamp and is featured in Man Ray’s 1933 suite of photographs Le onde des échecs. In Raymond Roussel et les échecs dans la littérature (1933),11 Tartakower considered the influence exerted by chess in the years when Duchamp was writing his impossible endgames. At the same time, the chess automaton described by Benjamin appeared in the plots of several novels and films. Tartakower refers to the film Le oueur d’échecs (The Chess Player, 1927; fig. 48), directed by Raymond Bernard and based on the novel by Henry Dupuy-Mazuel,12 which was inspired by the story of the ‘Turk’ in Kempelen’s memoirs. This in turn provided the plot for the 1938 film by Jean Deville, also called Le oueur d’échecs. Tartakower also mentions Le Crime du fou d’échecs
AME
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E RAGIC
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IICC AE AELL R A LLOR OR AN ANDD DA DAWN WN AD ADES ES n 19 Dalí as or ing on his boo e ragic M t of Millet s ngelus aranoiac critical nter retation (cat 119), hich he described as a s choanal tical essa 1 The Surrealists anted an article from him for the gloss ne ournal Minotaure, ublished b S ira, and luard rote to him suggesting he send the reface from his ne boo on e ngelus, but arning him l est n cessaire our S ira ue votre texte ne soit en rien or OgraP ue sic rrange vous ( t s essential for S ira that our text is not at all ornogra hic See to it ) The scars from Dalí s 19 1 S S L text verie, udged b the Communist Part to be ornogra hic, ere still evidentl ra and luard as robabl a are of the ex losive and scandalous nature of Dalí s ne m th The text nter r tation arano a ue criti ue de l image obs dante de L ng lus de Millet , a eared in Minotaure in 19 , illustrated ith eonardo s Virgin an il it St nne, and Millet s e ngelus, arvesters and Maternal recaution Dalí lin s the maternal vulture Freud sa unconsciousl hidden in the go n of St nne inter reted b Freud in terms of eonardo s sexualit to his o n aranoiac critical method Dalí s inter retation of e ngelus reads into it a dramatic scenario of eroticism and death, hich becomes an original variant of the Oedi us m th The innocent gures of the ra ing cou le, through a rocess of association, become highl sexualised, and are sub ected to an identit shift ife and husband mutate into mother and son, the former transforming through multi le associations into a terrif ing aggressor n the nal section of his boo Dalí describes three successive stages of the m th n the rst, the stillness of the cou le in e ngelus becomes a sinister immobilit the t ilight that Dalí has earlier connected to the ancient eras of the arth s mbolises atavistic sensations and the oman the mother has an ex ectant attitude announcing imminent sexual aggression n the second hase Dalí sees that the son has coitus ith his mother from behind The instruments of rural labour, and in articular the heelbarro , are inter reted as sexuall charged not ust through a Freudian s mbolism but from the evidence of easant lore and sa ings n the third and nal hase the oman, the mother, is identi ed ith the ra ing mantis, hich devours the male during co ulation (a footnote added later ex lains that this onl occurs hen the mantis is in the unnatural state of ca tivit ) The idea of the female 150
consuming the male as threaded through the earlier delirious erotic and cannibalistic associations ith mil , tea cu s and cherries, hile the maternal as embodied in e ngelus in the lled sac , the loughed earth and the bas et Dalí concludes ith his im ression that the fro en osture of the male, ith hom he identi es himself, reveals him as alread dead , and that the m th itself is the maternal variant of the immense, atrocious m th of Saturn, braham, the ternal Father ith esus Christ and illiam Tell himself devouring their o n sons n Me itation on t e ar (cat 120), the strange triangle of father, mother and son a ears in a oignant grou , the dead son su liant and calci ed n his 19 5 boo e on uest of t e rrational, Dalí lin ed e ngelus and the Mona Lisa in anal tic terms according to the aranoiac critical method, ro osing that the same content could be found in both aintings 2 That he as thin ing not onl of eonardo but of Ducham s transgressive iteration of the image is made extra clear in e ragic M t of Millet s ngelus, here he re roduces Ducham s L. . . . . facing his concluding remar s e ngelus is associated in a coherent a ith the Mona Lisa through the Oedi us characteristic that is common to them
119 Salvador Dalí Le M t e tragi ue e L ng lus e Millet nter retation arano a ue criti ue ( e ragic M t of Millet s ngelus aranoiac critical nter retation), c. 19 , ublished 196 oo , 27 5 x 21 7 cm Collection of The Dalí Museum rchives, St Petersburg, Florida 120 Salvador Dalí Me itation on t e ar , c 19 Oil on canvas, 66 7 x 7 cm Collection of The Dalí Museum, St Petersburg, Florida
ERO ICIS
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CHRONOLOGY
MONT MO NTSE SE AG AGUE UERR TE TEIX IXID IDOR OR AN ANDD CA CARM RMEE RU RUIZ IZ GO GONZ NZÁL ÁLEZ EZ Marcel Duchamp (1887–1968) and Salvador Dalí (1904–1989) had spaces in common, both physical and intellectual. From 1933, when they were together in Cadaques, until 1968, the year Duchamp died, the two artists were more than colleagues; their biographies were interwoven at various moments in their lives. Their backgrounds were similar, and their fathers were both notaries. They shared geographies: Paris and New York, but also Arcachon and Cadaqués. Both artists passed through various avant-garde styles at the beginning of the twentieth century, arriving at an anti-modernist position; Duchamp became associated with Dada, while Dalí was to affiliate himself to what was known among the Catalan avant-garde as ‘anti-art’. The mutual influences are striking and extend beyond the death of Duchamp. This chronology examines the intersection of their lives and their art until Duchamp’s death in 1968.
1887
28 July: birth of Henri-Robert-Marcel Duchamp. His older brothers are also artists: Gaston (b. 1875), who adopts the name Jacques Villon, and Raymond (b. 1876), who assumes the name Duchamp-Villon. His sister Suzanne (b. 1889) is also a painter.
1904
Duchamp moves to Paris. 11 May: birth of Salvador Dalí.
1908
Fig. 94
1913
Duchamp mounts a bicycle wheel upside down on a stool as a distraction in his studio (cat. 77). Nude Descending a Staircase is exhibited at the Armory Show in New York and becomes the focus of attention, controversy and ridicule for its apparent unintelligibility. Duchamp sells all four of his paintings from the Armory Show, including The King and Queen Surrounded by Swift Nudes (cat. 46).
1914
Birth of Anna Maria, Dalí’s sister.
Duchamp selects his first readymade, Bottle Rack, from the department store Bazar de l’Hôtel de Ville, Paris.
1912
1915
Duchamp withdraws Nude Descending a Staircase from the Salon des Indépendants following demands from the Hanging Committee for the Cubist room that he either change the painting or the title (possibly because of its Futurist associations). The painting, together with Sonata (1911), is exhibited later that year at the 'Exhibition of Cubist Art' in Barcelona, organised by Josep Dalmau (fig. 94). Duchamp attends a performance of Roussel’s play Impressions of Africa with Francis Picabia and possibly Guillaume Apollinaire. Over the summer, while in Munich, he paints Bride. In October a trip to the Jura Mountains with Picabia and Apollinaire prompts the first of the Notes that lead to The Bride Stripped Bare by Her Bachelors, Even. In November Duchamp begins to train as a librarian, in order to not have to earn his living as a painter in future.
Duchamp moves to New York, acquires two glass panels and starts work on The Large Glass. He meets Man Ray and buys more manufactured objects, including a snow shovel (cat. 103).
1916
January: Duchamp writes to his sister from New York explaining the concept of the ‘readymade’ and gifting her Bottle Rack, but it is too late, she has already thrown this and Bicycle Wheel away while clearing his Paris studio. Dalí spends periods on the outskirts of Figueres, at the Molí de la Torre estate owned by the Pichots, a family of intellectuals and artists; it is there, through the painter Ramon Pichot’s collection, that he discovers Impressionism.
Fig. 94 Exhibition of Cubist Art, Barcelona, 1912. Catalogue for the exhibition at Galeries Dalmau, Barcelona, 20 April – 10 May 1912; cover and interior spread showing a reproduction of Marcel Duchamp, Sonata (1911). Fundació Gala-Salvador Dalí, Figueres
194
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191
Duchamp arranges for a porcelain urinal to be submitted to the First Annual Exhibition of the Society of Independent Artists in New York, under the pseudonym R. Mutt and with the title ountain (cat. 102). When it is re ected he resigns from the ury and publishes the second issue of his small maga ine The Blind Man (cat. 101), which contains Stieglit ’s photograph of ountain and the first ustification of the idea of the readymade.
191
Duchamp paints his last oil on canvas, Tu m (fig. 87), commissioned by his friend and patron atherine Dreier to fit a space above a bookcase in her apartment. More than ten feet long and two feet high, it is a kind of inventory of his previous works, including shadows of Bi le heel and Hat a . As the United States enters the First World War, Duchamp moves to Buenos Aires, where he plays chess avidly.
1919
Duchamp returns to Paris, where he stays with Picabia and makes contact with the Paris Dadaists, including André Breton, Philippe Soupault, Louis Aragon and Paul Éluard. He adds a moustache and a goatee beard to a reproduction of the Mona Lisa, entitling the result LH . (cat. 28), a word-play on Elle a haud au ul (she has a hot ass). Dalí takes part in a group exhibition in the Municipal Theatre in Figueres (which years later becomes the Dalí Theatre-Museum).
19
Duchamp returns to New York. Picabia publishes LH , minus the beard, in his Dada review 391. Duchamp signs a work, resh idow, as ‘Copyright Rose Sélavy’, the first use of his female alter ego. The following year he adds an extra ‘R’ to Rose, producing Rrose Sélavy, Eros est la ie (Eros, that’s life).
19 1
Duchamp edits and publishes ew or Dada with Man Ray, whose photograph of him as Rrose Sélavy appears on the cover (cat. 32). Duchamp returns to Paris. July: his first word games are published in . February: Dalí’s mother dies. The next year, his father marries Catalina Dom nech Ferrés, his sister-in-law.
19
André Breton’s first critical essay on Duchamp is published in Litt rature. November: Breton lectures in Barcelona on the eve of the opening of Picabia’s exhibition of watercolours at the Galeries Dalmau, praising ‘the vigilance of Duchamp and Picabia’ and heralding ‘an art that is richer in surprises than painting’. Dalí takes part in the Students riginal Artworks Competition Exhibition of the Catalan Students’ Association, held at Galeries Dalmau in Barcelona, where his work Mar et is awarded the university
vice-chancellor’s pri e. In Madrid, he attends the Real Academia de Bellas Artes de San Fernando and lives at the Residencia de Estudiantes, where he makes friends with a group of young people who are to become leading intellectual and artistic personalities: Luis Bu uel, Federico García Lorca, Pedro Garfias, Eugenio Montes and Pepín Bello, among others.
19 3
Duchamp abandons The Large Glass, leaving it unfinished. He spends most of the 1920s playing chess. Dalí is expelled for a year from the Academia de San Fernando for indiscipline.
19 4
Duchamp is mentioned (among other artists) in a footnote to Breton’s Surrealist Manifesto, as well as in the main text. Breton imagines meeting Duchamp for the first time in the hall of mirrors of a half-ruined castle where he dreams of living with his friends.
19 5
May–June: Dalí takes part in the first Exhibition of the Iberian Artists Society in Madrid. November: Dalí’s first solo show opens at the Galeries Dalmau in Barcelona.
19
Dalí participates in several exhibitions in Madrid and Barcelona. In the company of his aunt and sister, he makes his first trip to Paris, where he meets Picasso and visits the Louvre. He is definitively expelled from the Academia de San Fernando after refusing to be examined in Theory of Art, declaring the examiners incompetent to udge him.
19
Dalí holds his second individual exhibition at Galeries Dalmau in Barcelona and participates in the Second Autumn Salon at the Sala Parés Gallery, Barcelona. He does his military service at Sant Ferran castle in Figueres. With the publication of the article ‘Sant Sebasti ’, dedicated to Lorca, Dalí’s regular and extensive collaboration with the vanguardist ournal L mi de les rts begins, a relationship that continues until 1929.
19
March: Dalí publishes the anti-art ellow Manifesto with Sebasti Gasch and Lluís Montany . In autumn Dalí participates in the Third Autumn Salon at Sala Parés in Barcelona and in the Twenty-seventh International Exhibition of Paintings in Pittsburgh, USA.
19 9
Dalí and Luis Bu uel write the screenplay of n Chien andalou, which is published in the final issue of the review La olution surr aliste. The film is screened in Paris. Dalí oins the Surrealist group and several 195
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‘Picasso and I’ (lecture) 51 ‘Poem’ 37 ‘Psychoatmospheric-Anamorphic Objects’ 38 ‘R verie’ 108, 150 ‘The Rotting Donkey’ 38 ‘St Sebastian’ 175 Salvador Dalí Reveals the Mona Lisa Secret 69 ‘Sant Sebastià’ 68, 195 The Secret Life of Salvador Dalí 39 Studium 37 ‘Surrealist Objects’ 108, 114, 196 The Terrifying and Edible Beauty of Modern Style Architecture 122 The Tragic Myth of Millet’s Angelus, A Paranoiac-critical Interpretation 19, 39, 150, 150, 154, 196 ‘Vive la guerre Le surréalisme et Hitler’ 22 ‘Who is Surrealism ’ 205 ‘Why They Attack the Mona Lisa’ 68, 203–204, 203 Yellow Manifesto 17, 83, 83, 195 Dalí Cusí, Salvador 144–45 Dalí Theatre-Museum, Figueres 19, 58, 195, 205, 206–207, 206–207 Dalmau, Josep 194 D’Arcy Galleries, New York 203 De Kooning, Willem 52 Desargues, Girard Mani re universelle de M. Desargues 170 Descharnes, Michèle 67 Descharnes, Nicolas 35 Descharnes, Robert 35, 52, 65–67, 69, 81, 104 Deville, Jean 50 Dictionnaire abrégé du Surréalisme 32, 200, 200 Diehl, Gaston The Moderns: A Treasury of Painting Throughout the World 13 Dizzy Dalí Dinner (1941) 201 Documents (magazine) 47 Domènech Ferrés, Catalina 195 Dominguín, Luis Miguel 104 Donati, Enrico 114, 201 d’Ors, Eugenio 144 Doucet, Jacques 178 Dreier, Katherine S. 35, 161, 173, 195 Du Breuil, Jean 168, 170 Duchamp, Marcel 10, 15, 32, 64–67, 126, 146, 202 anaglyptic and stereoscopic works 25, 46 ‘anti-art’ 15, 17, 23, 82, 178 ‘celibate machines’ 49, 50 as chess player 15, 17, 18, 25, 49–53, 50, 60, 69, 80, 81, 83 death 52, 205 early life 58, 194 Ed Ruscha on 11–12, 13 eroticism and erotic objects 22–23, 108, 109, 114–15 exhibitions 11, 16, 27, 30–32 friendship with Dalí 15, 39, 51, 58 gender and public persona 68–69 humour 98–99 iconography 25 and identity 58–60 infra-mince 39 ‘International Exhibition of Surrealism’ 24 letters to Dalí 198, 199, 202, 203 measurement 172–74 ‘meta-realism’ 22 on modern art 19 multiple editions 12 as notary’s son 58, 68 optical illusions 19, 24, 25, 178, 179 and painting 21–25 perspective 168–69 photography and film 41–43, 45–46, 60, 69 puns 46, 160 readymades 15, 16–17, 19, 27–33, 36, 52, 82, 98, 99, 114 representation of movement 41, 45 as Rrose Sélavy 17, 32, 42, 43, 46, 60, 68, 74–75, 179, 195 and scepticism 18, 33 science and religion 154, 156 and Surrealism 15–18, 19, 38 Surrealist bullfight 104, 105, 203 and the Theatre-Museum, Figueres 206–207 titles of works 13, 31, 35 as a writer 35–36, 38–39
3 Standard Stoppages 42, 98, 99, 168, 172–74, 174, 176 Anémic cinéma (film) 45, 46, 60, 178, 190 Beautiful Breath: Veil Water 27, 27, 68 The Bec Auer 112 Bicycle Wheel 16, 28, 45, 60, 82, 98, 114, 116, 194, 195 Boîte-en-valise 19, 28, 39, 51, 69, 98, 102–103, 173, 199, 201, 202, 206 Bottle Rack 16, 28, 30, 30, 31, 32, 60, 95, 98, 136, 194 The Brawl at Austerlit 31, 32 The Bride 161, 161, 168, 174 The Bride Stripped Bare by er Bachelors, Even (The Large Glass) 17, 19, 21, 22, 23, 28, 31, 35–36, 38, 39, 41, 42, 43, 50, 52, 98, 99, 108, 109, 140, 141, 155, 156, 160–61, 160, 166–67, 168–69, 170, 172–74, 194, 195, 196, 198 Brie 194 The Bush 21, 22 Cahiers d’Art cover 137 The Chess Players 45, 89 The Chocolate Grinder 60, 174 Cemetery of Uniforms and Liveries 175 Coal-sack Ceiling 32, 33, 200 ‘C urs volants’ 31 Coffee Mill 84 Comb 36 Couple of Laundress s Aprons from Mimi Parent, Boîte alerte 127 Couverture-cigarettes 123 Dart Object 25, 109, 114, 120 Emilio Puignau, Mayor of Cadaqués 205 tant donnés 19, 21, 25, 51, 53, 109, 114, 140–41, 140–41, 143, 144, 168–69, 206 Female Fig Leaf 25, 42, 109, 114–15, 119, 123 Fountain 16, 23, 24, 28–29, 42, 82, 133, 195 Frames from an Uncompleted Stereoscopic Film 47 Fresh Widow 195 Green Ray 40, 42 andmade Stereopticon Slide 178, 178, 179 at Rack 29, 132, 195 In Advance of the Broken Arm 36, 134 The ing and Queen Surrounded by Swift Nudes 24–25, 35, 39, 51, 53, 86–87, 115, 156, 194 Landscape study for tant donnés 142 The Large Glass see The Bride Stripped Bare by er Bachelors, Even L. .O.O.Q. 15, 22, 23, 27, 52, 60, 68, 69, 73, 76, 83, 98, 115, 150, 195 Mannequin (Rrose Sélavy) 32 Marcel Duchamp Cast Alive 52, 53 Monte Carlo Bond 27, 29, 42, 68, 76 Moustache and Beard of L. .O.O.Q. 76 Network of Stoppages 174, 177 The Non-Dada 42, 42 Not a Shoe 115, 123 Nude Descending a Staircase (No. 2) 11, 16, 16, 41, 41, 45, 51, 194, 202 Paris Air 98, 139 The Passage from Virgin to Bride 35 Pharmacy 22, 27, 28, 30, 32, 94 Photograph of Shadows Cast by Readymades 131 Please Touch 25, 114, 124 Pocket Chess Set 51 Portrait of the Artist’s Father 58, 63 Portrait of Chess Players 88 Ready-made ( at Rack) 29 Rende -vous of Sunday 6 February 1916 36, 36 Rotary Demisphere (Precision Optics) 45, 46, 46, 178 Rotary Glass Plates 45, 178, 188 Rotoreliefs 178, 189 Rrose Sélavy 75 Rrose Sélavy (booklet) 100 Sad Young Man on a Train 98 St Sebastian 68, 71 Selected Details after Courbet 112 Selected Details after Cranach and Rel che’ 112 Selected Details after Ingres I 112 Selected Pieces 25 Shaved L. .O.O.Q. 76 Sink Stopper 12, 12, 134 Sonata 194, 194 ‘Study for the Bride in tant donnés’ 141, 142
The 36 Tonsure 78 Torture-morte 99, 99 Traveller’s Folding Item (Underwood Cover) 138 Travelling Sculpture 28, 28 Tu m’ 16, 41, 58, 172–73, 173, 195 Unhappy Readymade 175 Untitled (Note to Leonard Lyons) 59, 60 Wedge of Chastity 25, 109, 114, 115, 118 Why Not Snee e Rose Sélavy 17, 30, 31, 115, 135, 196 With idden Noise 36, 138 ‘Young Cherry Trees Secured Against Hares’ cover 186 Young Girl and Man in Spring 22, 23, 174 Yvonne and Magdeleine Torn in Tatters 98, 98 writings The Box of 1914 36, 42, 42 Dialogues with Marcel Duchamp 39 Green Box 22, 36, 38, 140, 156, 160–61, 162–63, 172, 198 Manual of Instructions for the Assembly of tant donnés 141 Marchand du Sel: écrits de Marcel Duchamp 35, 39 Notes 31, 41–42, 109, 164–65, 194, 196 Note Un rayon de lumi re... 38 Note ‘Rrose Sélavy born in 1920 in N.Y....’ 74 Note Study for night: Pocket Chess Set 1943’ 53 L’Opposition et les cases conjuguées sont reconciliées 50, 51, 52, 196 White Box 22, 36 Duchamp, Suzanne 16, 45, 194, 201 Duchamp, Teeny 51, 65–67, 115, 202 Duchamp-Villon, Raymond 58, 194 Dufresne, Isabelle (Ultra Violet) 12 Dullin, Charles 49 Dupuy-Mazuel, Henry 50 D rer, Albrecht 51, 53, 168 Easter Island 108 Éditions Surréalistes 37, 196 Eilshemius, Louis Michel 23 Einstein, Albert 154, 155 Éluard, Cécile 196 Éluard, Paul 17, 18, 31–32, 150, 195–96, 197, 200 Abridged Dictionary of Surrealism 32, 200, 200 Empiricus, Sextus Les ipotiposes ou, Institutions Pirroniennes de Sextus Empiricus 18 Ernst, Max 200, 201 erotic objects 114–15 eroticism 108–10 L’Esprit nouveau 17 ‘Exhibition of Cubist Art’, Barcelona (1912) 194 ‘Exhibition of Surrealist Objects’, Paris (1936) 30–31, 30–31 Exposición de Arte Cubista, Barcelona (1912) 194 Exposition InteRnatiOnal du Surréalisme (EROS), Paris (1959–60) 108, 127 ‘Exposition Surréaliste’, Paris (1933) 29–30, 30 ‘Fallas’, Valencia 104 ‘Fantastic Art, Dada, Surrealism’, New York (1936) 173–74, 199 fascism 18, 21–22, 24 Faucigny-Lucinge, Prince de 196 Fauvism 19, 22, 23 Ferry, Jean 52 Field, Albert 52 Fifth Avenue Cinema, New York 46 Figueres 19, 58, 104, 194, 195, 203, 205, 206–207 film 41–47, 60 ‘The First Papers of Surrealism’, New York (1942) 51, 201 First World War 28, 82, 195 Foucault, Michel 50 Fox News 47 Franco, General Francisco 18 Franklin, Benjamin 49 Franklin, Paul B. 16 French Academy of Sciences 172 French Revolution 205 Freud, Sigmund 22, 51, 83, 144, 154, 155, 199, 203 Leonardo da Vinci and a Memory of is Childhood 52 Futurism 16, 17, 28, 82
G (magazine) 45, 45 La Gaceta Literaria 37 Galerie Beaux-Arts, Paris 32–33, 200, 206 Galerie Charles Ratton, Paris 30–31, 30–31 Galerie Charpentier, Paris 115 Galerie Cordier, Paris 108 Galerie Goemans, Paris 27, 83, 196 Galerie Gradiva, Paris 199–200, 199, 207 Galerie Jacques Bonjean, Paris 30 Galerie Maeght, Paris 41 Galerie Pierre Colle, Paris 29–30, 196–97 Galeries Dalmau, Barcelona 194, 195 Gallery of Modern Art, New York 204, 204 Garfias, Pedro 195 Gasch, Sebastià 17, 195 Yellow Manifesto 83, 83 Gaudí, Antoni 197 gender identity 68–69 Ghyka, Matila 154 Giacometti, Alberto Disagreeable Object 108 Suspended Ball 114 Girón, Curro 104 Gleizes, Albert 16 Goemans, Camille 196 Goethe, Johann Wolfgang von 82 Gotham Book Mart, New York 201, 201 Greece, ancient 155 Griswold, J. F. ‘Seeing New York with a Cubist The Rude Descending a Staircase (Rush Hour at the Subway)’ 17 Guardiola, Ramón 104 Guggenheim, Peggy 201 Halberstadt, Vitaly Opposition and Sister Squares are Reconciled 50, 52 Halsman, Philippe 68 A Paragon of Beauty from Dalí’s Mustache’ 73 Hamilton, Richard 15, 161, 167, 173 Hawking, Stephen 154 Heisenberg, Werner 53, 154, 155 Hermitage of St Sebastian, Cadaqués 68 Herms, George 12 Hitler, Adolf 21, 22, 203 Holbein, Hans the Younger The Ambassadors 168, 169 ‘Homage to Ca ssa’, New York (1966) 204 Hopps, Walter 11, 174 Horst, Horst P. Portrait of Dalí 79 Hotel Del Monte, Pebble Beach, California 200, 201 Hugnet, Georges ‘Marcel Duchamp’ 76 Hugo, Valentine 114 Hultén, Pontus 21–22, 144 humour 98–99 Iberian Artists Society 195 ‘The Imagery of Chess’, New York (1944) 51 Impressionism 19, 22, 23, 194 Impressions of Upper Mongolia: omage to Raymond Roussel (film) 43–44 Independents Exhibition, New York (1917) 16, 24, 82 Informalism 51 International Exhibition of Paintings, Pittsburgh (1928) 195 ‘International Exhibition of Surrealism’, New York (1960–61) 24, 60, 202, 203 International Exhibition of Surrealism , Paris (1947) 41, 42, 109, 114 International Surrealist Exhibition , Paris (1938) 19, 31–32, 32–33, 200, 200, 206, 207 Jaguer, Edouard 24, 203 James, Edward 15, 200 Lobster Telephone 101 Jarry, Alfred 49, 156 ‘The Passion Considered as an Uphill Bicycle Race’ 16 Je ne vois pas... (photomontage) 18 Jean, Marcel 35 Jeaurat, Edme-Sébastien Traité de perspective à l’usage des artistes 170
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Trustees of the Royal Academy Development Trust Petr Aven Brook Brown Barzun Marc Bolland Sir David Cannadine FBA Sir Richard Carew-Pole Bt OBE DL Richard Chang Adrian Cheng Lord Davies of Abersoch CBE (Chair) Lady Deighton Lloyd Dorfman CBE Mrs Drue Heinz Hon DBE Stephen Fry Lady Heywood Anya Hindmarch MBE Clive Humby Alistair DK Johnston CMG FCA Declan Kelly Philip Marsden (Deputy Chair) Carolyn McCall DBE Christina Ong Frances Osborne Lord Ricketts of Shortlands GCMG GCVO Scott Mead Lord Rose of Monewden Dame Jillian Sackler DBE Robert Suss The late Sir David Tang KBE Sian Westerman Peter Williams Iwan Wirth Andrea Wong Trustee Emeritus/Honorary Trustee Lord Aldington Mrs Susan Burns Sir James Butler CBE DL The Rt Hon The Lord Carrington KG GCMC CH MC Sir Trevor Chinn CVO John Coombe Ambassador Edward Elson John Entwistle OBE Michael Gee (Honorary Trustee) The Rt Hon The Earl of Gowrie PC HRH Princess Marie-Chantal of Greece C Hugh Hildesley Susan Ho (Honorary Trustee) Lady Judge CBE Gabrielle Jungels-Winkler (Honorary Trustee) Lady Diane Lever Sir Sydney Lipworth QC The Rt Hon The Lord Luce (Honorary Trustee) Lady Myners Sir Keith Mills GBE DL Mrs Minori Mori John Raisman CBE John A Roberts FRIBA (Honorary Trustee) Sir Simon Robertson Sir Evelyn de Rothschild (Honorary Trustee) Mrs Mayam Sachs Richard Sharp David Stileman (Honorary Trustee) Ludovic de Montille (Honorary Trustee) Corporate Membership of the Royal Academy of Arts Launched in 1988, the Royal Academy’s Corporate Membership Scheme has proved highly successful. Corporate membership offers company benefits for staff, clients and community partners and access to the Academy’s facilities and resources. The outstanding support we receive from companies via the scheme is vital to the continuing success of the Academy and we thank all members for their valuable support and continued enthusiasm. Associate Bank of America Merrill Lynch Beaumont Nathan Art Advisory Ltd BNP Paribas Bonhams 1793 Ltd
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Premier The Arts Club BNY Mellon Brunswick Cazenove Capital Management Chestertons Deutsche Bank AG London FTI Consulting LLP HS1 Insight Investment Funds Management Ltd JTI JM Finn & Co JLL KPMG LLP Linklaters LLP Marsh Newton Investment Management Pinsent Masons LLP Sanlam UK Smith & Williamson Sotheby’s Turkish Ceramics Winsor & Newton Corporate Sponsors and Supporters of the Royal Academy of Arts Arup BNP Paribas BNY Mellon, Partner of the Royal Academy of Arts Cazenove Capital Management David Morris – The London Jeweller Edwardian Hotels Government of Flanders HS1 Ltd HTC Vive Insight Investment Jack Wills JM Finn JTI Kickstarter LetterOne Lisson Gallery Lowell Libson Ltd Maserati Momart Newton Investment Management Phillips Pictet Wealth Management Sketch Switzerland Tourism The White Company Turkishceramics Unilever Wells Fargo White & Case David Zwirner, New York/London Trusts, Foundations and Individual Donors Charles and Regine Aldington Art Mentor Foundation Lucerne The Atlas Fund Petr Aven The Nicholas Bacon Charitable Trust Albert van den Bergh Charitable Trust Blavatnik Family Foundation BNP Paribas Foundation Charlotte Bonham-Carter Charitable Trust William Brake Charitable Trust Brooke Brown Barzun Jeanne and William Callanan David Cannadine Capital Group Rosalind Clayton and Martin Higginson Cockayne Grants for the Arts
Mr and Mrs Damon de Laszlo Gilbert & Eileen Edgar Foundation The Eranda Foundation The Exhibition Supporters’ Circle Stephen and Julie Fitzgerald Flow Foundation Joseph Strong Frazer Trust Robin Hambro Holbeck Charitable Trust The Rootstein Hopkins Trust Edwina Dunn and Clive Humby Intrinsic Value Investors Paul and Susie Kempe Ömer Koç The David Lean Foundation The Mead Family Foundation Leche Trust Nelson Leong Leverhulme Trust Christian Levett Rosemary Lomax Simpson The Loveday Charitable Trust Maccabaeans Machin Foundation Scott and Laura Malkin McCorquodale Charitable Trust Paul Mellon Centre for Studies in British Art The Andrew W. Mellon Foundation The Mercers’ Company The Margaret and Richard Merrell Foundation Sir Keith Mills The Henry Moore Foundation The Peacock Charitable Trust Stanley Picker Trust The Polonsky Foundation The Red Butterfly Foundation Rippon Travel Award Kate and Nash Robbins Sir Stuart Rose Rose Foundation The Rothschild Foundation Adrian Sassoon Jake and Hélène Marie Shafran The Archie Sherman Charitable Trust Paul Smith Ltd South Square Trust Peter Storrs Trust Taylor Family Foundation The Terra Foundation for American Art Mr and Mrs Bart T Tiernan Celia Walker Art Foundation Spencer Wills Trust The Wingate Foundation Iwan Wirth Lord Leonard and Lady Estelle Wolfson Foundation Worshipful Company of Chartered Architects Supporters of Past Exhibitions The President and Council of the Royal Academy would like to thank the following supporters for their generous contributions towards major exhibitions in the last ten years: 2017 Jasper Johns Wells Fargo Terra Foundation for American Art Art Mentor Foundation Lucerne 249th Summer Exhibition Insight Investment Revolution: Russian Art 1917–1932 Letter One Blavatnik Family Foundation The Polonsky Foundation Petr Aven 2016 Abstract Expressionism BNP Paribas Terra Foundation for American Art Phillips Brooke Brown Barzun Jake and Hélène Marie Shafran David Hockney: 82 Portraits and 1 Still-life Cazenove Capital Management 248th Summer Exhibition Insight Investment In the Age of Giorgione 2009–2016 Season supported by JTI Maserati Royal Academy International Patrons Painting the Modern Garden BNY Mellon, Partner of the Royal Academy of Arts 2015 Jean-Etienne Liotard 2009–2016 Season supported by JTI The Pictet Group Cockayne Grants for the Arts, a donor advised fund of London Community Foundation Mr and Mrs Bart T Tiernan The Jean-Etienne Liotard Supporters’ Group Joseph Cornell: Wanderlust 2009–2016 Season supported by JTI The Terra Foundation for American Art The Cornell Leadership Circle Premiums, RA Schools Annual Dinner and Auction and RA Schools Show 2015 Newton Investment Management 247th Summer Exhibition Insight Investment Richard Diebenkorn 2009–2016 Season supported by JTI The Terra Foundation for American Art Rubens and His Legacy BNY Mellon, Partner of the Royal Academy of Arts 2015 Architecture Programme Lead supporter Turkishceramics
2014 Allen Jones RA Lead Series Supporter JTI Giovanni Battista Moroni 2009–2016 Season supported by JTI UBI Banca Anselm Kiefer BNP Paribas White Cube Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection 2009–2016 Season supported by JTI Christie’s Dennis Hopper: The Lost Album Lead Series Supporter JTI Nikon UK Premiums, RA Schools Annual Dinner and Auction and RA Schools Show 2014 Newton Investment Management 246th Summer Exhibition Insight Investment Dream, Draw, Work: Architectural Drawings by Norman Shaw RA Lowell Libson Ltd Collections and Library Supporters Circle Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina JTI Edwards Wildman Sensing Spaces: Architecture Reimagined Scott and Laura Malkin AKT II Arauco 2013 Bill Woodrow RA Lead Series Supporter JTI The Henry Moore Foundation Daumier 2009–2016 Season supported by JTI Australia National Gallery of Australia Qantas Airways The Woolmark Company Richard Rogers RA: Inside Out Ferrovial Agroman Heathrow Airport Laing O’Rourke Mexico: A Revolution in Art, 1910–1940 2009–2016 Season supported by JTI Art Mentor Foundation Lucerne Conaculta Mexican Agency for International Development Cooperation Sectur Visit Mexico 245th Summer Exhibition Insight Investment George Bellows 2009–2016 Season supported by JTI Edwards Wildman Premiums, RA Schools Annual Dinner and Auction and RA Schools Show 2013 Newton Investment Management Manet: Portraying Life BNY Mellon, Partner of the Royal Academy of Arts 2012 Mariko Mori JTI RA Now JTI Bronze Christian Levett and Mougins Museum of Classical Art Daniel Katz Gallery Baron Lorne Thyssen-Bornemisza John and Fausta Eskenazi The Ruddock Foundation for the Arts Tomasso Brothers Fine Art Jon and Barbara Landau Janine and J Tomilson Hill Embassy of the Kingdom of the Netherlands Eskenazi Limited Lisson Gallery Alexis Gregory Alan and Mary Hobart Richard de Unger and Adeela Qureshi Rossi & Rossi Ltd Embassy of Israel 244th Summer Exhibition Insight Investment From Paris: A Taste for Impressionism – Paintings from the Clark 2009–2016 Season supported by JTI Edwards Wildman The Annenberg Foundation Premiums, RA Schools Annual Dinner and Auction and RA Schools Show 2012 Newton Investment Management Johan Zoffany RA: Society Observed 2009–2016 Season supported by JTI Cox & Kings Building the Revolution: Soviet Art and Architecture 1915–1935 2009–2016 Season supported by JTI The Ove Arup Foundation The Norman Foster Foundation Richard and Ruth Rogers David Hockney RA: A Bigger Picture BNP Paribas Welcome to Yorkshire: Tourism Partner Visit Hull & East Yorkshire: Supporting Tourism Partner NEC
Region Holdings Blavatnik Family Foundation Eyewitness: Hungarian Photography in the Twentieth Century. Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi 2009–2016 Season supported by JTI Hungarofest OTP Bank 243rd Summer Exhibition Insight Investment Premiums, RA Schools Annual Dinner and Auction and RA Schools Show 2011 Newton Investment Management Watteau: The Drawings 2009–2016 Season supported by JTI Region Holdings Modern British Sculpture American Express Foundation The Henry Moore Foundation Hauser & Wirth Art Mentor Foundation Lucerne Sotheby’s Blain Southern Welcome to Yorkshire: Tourism Partner 2010 GSK Contemporary – Aware: Art Fashion Identity GlaxoSmithKline Pioneering Painters: The Glasgow Boys 1880–1900 2009–2016 Season supported by JTI Glasgow Museums Treasures from Budapest: European Masterpieces from Leonardo to Schiele OTP Bank Villa Budapest Daniel Katz Gallery, London Cox & Kings: Travel Partner Sargent and the Sea 2009–2016 Season supported by JTI 242nd Summer Exhibition Insight Investment Paul Sandby RA: Picturing Britain, A Bicentenary Exhibition 2009–2016 Season supported by JTI The Real Van Gogh: The Artist and His Letters BNY Mellon, Partner of the Royal Academy of Arts Hiscox plc Heath Lambert Cox & Kings: Travel Partner RA Outreach Programme Deutsche Bank AG 2009 GSK Contemporary GlaxoSmithKline Wild Thing: Epstein, Gaudier-Brzeska, Gill 2009–2016 Season supported by JTI BNP Paribas The Henry Moore Foundation Anish Kapoor JTI Richard Chang Richard and Victoria Sharp Louis Vuitton The Henry Moore Foundation J W Waterhouse: The Modern Pre-Raphaelite 2009–2016 Season supported by JTI Champagne Perrier-Jouët GasTerra Gasunie 241st Summer Exhibition Insight Investment Kuniyoshi. From the Arthur R. Miller Collection 2009–2016 Season supported by JTI Canon Cox & Kings: Travel Partner Premiums and RA Schools Show Mizuho International plc RA Outreach Programme Deutsche Bank AG 2008 GSK Contemporary GlaxoSmithKline Byzantium 330–1453 J F Costopoulos Foundation A G Leventis Foundation Stavros Niarchos Foundation Cox & Kings: Travel Partner Miró, Calder, Giacometti, Braque: Aimé Maeght and His Artists BNP Paribas Vilhelm Hammershøi: The Poetry of Silence OAK Foundation Denmark Novo Nordisk 240th Summer Exhibition Insight Investment Premiums and RA Schools Show Mizuho International plc RA Outreach Programme Deutsche Bank AG From Russia: French and Russian Master Paintings 1870–1925 from Moscow and St Petersburg E.ON 2008 Season supported by Sotheby’s
2011 Degas and the Ballet: Picturing Movement BNY Mellon, Partner of the Royal Academy of Arts
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