Marcel Duchamp: Paint

“Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N. Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.”

Marcel Duchamp

long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158
1915 - 1925

Art , Understanding , Thinking , Sense

“I have been wanting to write to you for some time, but never have time, so absorbed I am in playing chess. I play night and day and nothing in the whole world interests me more than finding the right move... Nothing transcendental going on here – strikes [in Buenos Aires, where chess competitions were organized that year for not professionals] a lot of strikes, the people are on the move. Painting interests me less and less.”

Marcel Duchamp

a daily life quote, in Duchamp's letter to the Stettheimers family in New York, from Buenos Aires 3 Mai 1919; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159
1915 - 1925

People , World , Time , Painting

“My brother [the sculptor artist Raymond Duchamp-Villon had a kitchen in his little house in Puteaux, and he had the idea of decorating it with pictures by his buddies. He asked Gleizes, Metzinger, La Fresnaye, and I think Leger [all Cubist painters, then] to do some little paintings of the same size, like a sort of frieze. He asked me too, and I painted a coffee grinder which I made to explode.”

Marcel Duchamp

Quote from: Entretiens avec Marcel Duchamp, 1965; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 198
Duchamp's quote is referring to his painting 'Moulin a café', 1911 - many times reproduced from the lithography, made for the 1947 re-edition of Gleizes and Metzingers book 'Du Cubisme'
1951 - 1968

Coffee , Idea , Thinking , Painting

“I wanted to get away from the physical act of painting... For me the title ('Fresh Widow', 1920), with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', [probably referring to all the widows because of the many killings of soldiers in World War, 1. which ended in 1918] was very important... I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.”

Marcel Duchamp

Quote from: Looking at Dada ed. Sarah Blyth / Edward Powers, MoMa, New york 2006; p. 13
posthumous

War , World , Idea , Painting

“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

Marcel Duchamp

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War , World , Drawing , Painting

“Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.”

Marcel Duchamp

Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War , Age , World , Art

“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

Marcel Duchamp

1951 - 1968, Apropos of Ready Mades', 1961

World , Sense , Painting

“the idea of movement…. just transferred from the Nude [ Nude Descending a Staircase, No. 2 - Duchamp painted this in 1912] into a bicycle wheel [ Bicycle wheel, his early ready-made from 1916-17].”

Marcel Duchamp

Quote in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 41
Duchamp is looking back shortly before his death in 1968
1951 - 1968

Idea , Painting

“.. 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

“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

“.. 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

“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