Marcel Duchamp: Trending quotes (page 3)

“Somebody in Germany [the German artist Joseph Beuys, who frequently visited America to discuss and to do performances] has been talking about my 'silence', saying that it is overrated. What does that mean? [this quotes you find also in Joseph Beuys' quotes on Wikiquote], he himself heard this 'rumor' from several American artists! (Joseph Beuys continued: 'I am convinced that he [= Duchamp] knew very well what it meant. If he was unsure about it, he could have written me a letter').”

Marcel Duchamp

Quote from: 'Interview with Achille Bonito Oliva', 1986; Republished in: 'Joseph Beuys', Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993
posthumous

Quotes , Silence

“.. Yes, indeed, what have we been up to? I feel rather like I've retired to the country, in some remote province, for that's what my life is like in N. Y. I see few people and people don’t try to see me anymore as they know they bore me. I write to the Arensberg's once a year and they do the same. There is a general weariness which, I think, is not confined to our generation. To tell the truth, most people prefer war to peace... Well, there you are, my dear Yvonne. Nothing as usual. Chess as much as possible: at least chess players don’t talk”

Marcel Duchamp

Quote from his letter to Yvonne Chastel, New York, 8 January 1949; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159
1921 - 1950

Life , War , People , Truth

“.. because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting? ] was just like printing except it was made by hand by him. That doesn’t add a thing to it.”

Marcel Duchamp

it's just the idea of imitating the beer can that is important.
Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194
posthumous

Art , Idea , Beer , Painting

“Painting is over and done with. Who could do anything better than this propeller? Look, could you do that?”

Marcel Duchamp

Quote of Duchamp's remark to Brancusi, visiting the Paris Aviation Show of 1919; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 49
1915 - 1925

Painting

“To be looked at [from the other side of his art-work 'The Glass'] with one eye, close to, for almost an hour.”

Marcel Duchamp

an inscription in French title, (translated) – instruction of his artwork, 1918; as quoted from 'Looking at Dada' ed. Sarah Blyth / Edward Powers, MoMa museum, New York 2006, p. 13
1915 - 1925

Art

“They say any artist paying six dollars may exhibit
Mr. Richard Mutt [= Duchamp himself; an inscription written by Duchamp] sent in a fountain. Without discussion this article disappeared and never was exhibited.
What were the grounds for refusing Mr. Mutt fountain:
1. Some contented it was immoral, vulgar.
2. Others, it was plagiarism, a plain piece of plumbing.
Now, Mr. Mutt fountain is not immoral, that is absurd, no more than a bit tube is immoral. It is a fixture that you see every day in plumber’s show windows.
Whether Mr. Mutt with his own hands made this fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that's its useful significance disappeared under the new title ['The Richard Mutt Case'] and point of view – created a new thought for that object.
As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges.”

Marcel Duchamp

quote, 1917
Quote in: Theories and Documents of Contemporary Art, – a source-book of Artist's writings, ed. Kristine Stiles / Peter Selz, University of California Press, London, England, 1996, p. 817
Duchamp's core quote / his own written comment on his artwork 'Fountain (Duchamp)': The Richard Mutt Case, Marcel Duchamp, ‘Blind Man’, New York, 1917: 5
1915 - 1925

Life , Art , Quotes

“In French there is an old expression, 'la patte', meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting.”

Marcel Duchamp

posthumous

Painting , Personality

“So if I say you that your paintings [which his brother-in-law recently made] have nothing in common with what we see generally classified and accepted, and that you have always managed to produce things that were entirely your own work, as I truly see it, that does not mean you have the right to be seated next to Leonardo -
What's more, this originality is suicidal as it distances you from a 'clientele' used to 'copies of copiers', often referred to as 'tradition'-
One more thing, your technique is not the 'expected' technique – It's your own personal technique, borrowed from nobody – and there again, this doesn't attract the clientele.... In a word, do less self-analysis and enjoy your work without worrying about opinions, your own as well as that of others.”

Marcel Duchamp

Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 167-168
1951 - 1968

Law , Suicide , Painting , Personality

“You were asking my opinion on your work of art, my dear Jean [= Duchamp's brother-in-law Jean Crotti, who asked Duchamp his comment on an art-work he made]... Artists throughout the ages are like Monte Carlo gamblers and the blind lottery pulls some of them through and ruin others... I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favors. In other words, no painters knows himself or what he is doing – There is no outward sign explaining why a Fra Angelico and a Leonardo [da Vinci] are equally 'recognized.”

Marcel Duchamp

It all takes place at the level of our old friend luck.
Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167
1951 - 1968

Happiness , Age , Law , Art

“You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist’s life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible.
This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement
Dee”

Marcel Duchamp

Quote from a letter to Katherine Sophie Dreier, Paris 11 September 1929; as cted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 158
Duchamp's quote is referring to a new publication of the 'Duchamp Book' and to his famous so-called Art-Silence.
1921 - 1950

Life , Books , Age , Art

“I wanted to kill art for myself.... a new thought for that object.”

Marcel Duchamp

1951 - 1968
Source: 'Marcel Duchamps 1887 – 1968', Artforum 7 no. 3, November 1968, p. 6

Art

“This long preamble just to tell you not to judge your own work as you are the last person to see it (with true eyes) – What you see neither redeems nor condemns it – All words used to explain or praise it are false translations of what is going on beyond sensations.
You are, as we all are, obsessed by the accumulation of principles or anti-principles which generally cloud your mind with their terminology and, without knowing it, you are a prisoner of what you think is a liberated education –
In your particular case, you are certainly the victim of the 'Ecole de Paris' [French abstract art movement which developed after world War 2. ], a joke that’s lasted for 60 years.”

Marcel Duchamp

Quote in a letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167
1951 - 1968

War , World , Education , Art

“Based on the metaphysical implications of the Dadaist dogma.... Arp's Reliefs [carvings] between 1916 and 1922 are among the most convincing illustrations of that anti- rationalistic era... Arp showed the importance of a smile to combat the sophistic theories of the moment. His poems of the same period stripped the word of its rational connotation to attain the most unexpected meaning through alliteration or plain nonsense.”

Marcel Duchamp

1921 - 1950
Source: 'Appreciations of other artists': Jean (Hans) Arp (sculptor, painter, writer) 1949, by Marcel Duchamp; as quoted in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

Smile

“People talk of Pablo Picasso as the leader of the Cubists but, strictly speaking, he is no longer a Cubist. Today he is a Cubist, tomorrow he will be something else. The only true Cubists are Gleizes and Metzinger.”

Marcel Duchamp

quote from the text 'A complete reversal of opinions on art'; Marcel Duchamp, in 'Art and Decoration', New York, 1 September 1915
1915 - 1925

People

“.. we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.... the role of the spectator is to determine the weight of the work on the aesthetic scale.”

Marcel Duchamp

1951 - 1968, The Creative Act', 1957

Art , Personality

“.. paint was always [in history of painting] a means to an end, whether the end was religious, social, decorative or romantic. Now it's become an end in itself..”

Marcel Duchamp

Quote in 'Artist's Voice', Kuh; as cited in Outside the Lines, David W. Galenson, Harvard University Press, 2001, p. 109
posthumous

History , Painting

“I have impressed upon you my preoccupation with earning money so as to have a secure existence over there. That's the way it have to be… I am very happy to hear that you [ Walter Pach ] sold these canvasses for me and thank you very sincerely for your friendship. But I am afraid of getting to the stage of needing to sell canvases, In a word, of being a painter for a living. – So I'll be leaving probably on the 22nd or rather 29th May [1915], if the police authorities allow me to take the steamer.”

Marcel Duchamp

Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157
1915 - 1925

Money , Friendship , Way , Sincerity

“Well, this man [the T. V. interviewer of Jasper Johns, ] wanted to know why I stopped painting [the so-called famous 'Silence of Duchamp'].... and he had said [it was] because of dealers and money and various reasons. Largely moralistic reasons.... But you know; it wasn’t like that. It’s like you break a leg; you don't mean to do it.”

Marcel Duchamp

Quote in: Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma, New York, 1996; p. 151
posthumous

Money , Silence , Painting

“I was interested in ideas - not merely in visual products. I wanted to put painting once again at the service of the mind.”

Marcel Duchamp

In 'Artist's Voice', Kuh; p. 89; as quoted in Writings of Marcel Duchamp, Sanouillet and Peterson, p. 125
posthumous

Idea , Painting

“De Chirico [Italian painter, later admired by the Surrealists as 'early Surrealist'] found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico’s position and allowed him to lay down the foundation of what was to become Surrealism ten years later.”

Marcel Duchamp

Quote by Marcel Duchamp, 1943, from 'Appreciations of other artists': Giorgio de Chirico (painter, writer, illustrator); as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

World , Problem , Painting