Marcel Duchamp

Marcel Duchamp

Dadaism was an artistic and literary movement that began in Zurich, Switzerland ("Dada," sec 1). Dadaism was derived as a result of World War I and the nationalism that many people believe had led to war. This time period was influenced by Cubism, Futurism, Constructivism and Expressionism. It was "widely diverse" period of time, ranging from performance art to poetry, photography, sculpture, painting and collage ("Dada," sec 1). Dadaism was known for its mockery of materialistic and nationalistic attitudes. It had an influence on artists in other cities, including Berlin, Hanover, New York, and Cologne, all of which went to create their own groups. Dadaism was the first conceptual art movement where the focus of the artists was not on the ... Show more content on Helpwriting.net ...His interest in the themes and exploration of sexual identity and desire lead him towards Dadaism and Surrealism. In 1911, Duchamp met Francis Picabia. A year later, the two along with Guillaume Apollinaire, attended Raymond Roussel's Impressions d'Atrique. This experience and Roussel's inventive plots and puns in particular, made a deep impression on Duchamp ("Marcel Duchamp," sec 6). He noted that for the first time, he "felt that as a painter it was much better to be influenced by a writer than by another painter" ("Marcel Duchamp," sec 6). The interest in this "cross–genre pollination" would become one the underlying ideas of Dada, as would his outright rejection of a conventional artistic path ("Marcel Duchamp," sec 6). Duchamp devoted seven years (1915–1923) to planning and executing two major works, The Bride Stripped Bare By Her Bachelor, Even and The Large Glass. These two artworks marked his rejection of outmoded painterly obsessions with pleasing the eye ("Marcel Duchamp," sec 6). He called this theory the "retinal shudder". In 1912, Marcel decided to move to New York. He had claim to found objects that included a snow shovel, an urinal, and bicycle wheels, which had symbolic themes of desire, eroticism and childhood memory to show the absurdity of canonizing avant–garde practice ("Marcel

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