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In the Manner of Duchamp, 1942-47: the years of the "mirrorical return"

Art Bulletin, The, June, 2004 by Thomas Singer

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14. Naumann (as in n. 3), 233. Naumann writes that all three of the copies "were made from professional photographs taken of the originals." That may well be the case for Nine Malic Molds and Three Standard Stoppages. However, Andrea Clark, the registrar at the Norton Simon Museum, which owns all three of the copies, informed me in an e-mail message of June 5, 2002, that according to the information in their files, Hayes's copy of In the Manner of Delvaux was not made from a professional photograph of the original collage. Perhaps the original was still in transit to California from Andre Breton's collection in Paris. In any case. Hayes had a photograph made of the reproduction of In the Manner of Delvaux that appears as pl. 112 in Lebel. Since the size (4 3/4 in. square) of the illustration in Lebel--it is square-cropped to show only the tondo with tinfoil in the corners--was larger than the tondo image in the original collage, a second print was then made reducing the image to the specifications (2 3/4 in. square) given for the original tondo in the catalogue raisonne section of Lebel's book. The resulting glossy photograph was then set in a small, gilded dime-store frame.

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15. Duchamp, Notes, no. 169.

16. For a fascinating short film that uses a magnifying glass to prove that Duchamp's piece is a photographic montage composed of distinct elements, go to http://www.toutfait.com/issues/issue_3/Multimedia/Shearer/Shearer04.html, scroll down to illustration 21A, and click on the image of In the Manner of Delvaux to download the movie. This movie is part of the article by Rhonda Roland Shearer, with Gregory Alvarez, Robert Slawinski, Vittorio Marchi, and text box by Stephen Jay Gould, "Why the Hatrack Is and/or Is Not Readymade," Tout-Fait: The Marcel Duchamp Studies Online Journal 1, no. 3 (Dec. 2000). The movie of In the Manner of Delvaux is presented merely to show an example of Duchamp's skills at creating a photomontage. The authors of the article do not comment on the collage in their text.

17. Roger Shattuck. The Innocent Eye (New York: Farrar, Straus, and Giroux, 1984), 291, 56.

18. Duchamp, in a 1959 BBC radio interview with Richard Hamilton. This interview, as well as other recordings by Duchamp, can be found on the Internet at http://www.ubu.com/sound/duchamp02.html.

19. Duchamp, quoted in Cabanne (as in n. 8), 88.

20. Edmond and Jules de Goncourt, quoted in Shattuck (as in n. 17), 70.

21. Shattuck (as in n. 17), 77.

22. Jeffrey Weiss, The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism (New Haven: Yale University Press, 1994), 149.

23. Ibid., 148. On the same page Weiss writes that the pastiches were "exaggerated just enough to draw out the salient characteristics of a given manner, yet 'photographic' enough to pass ... for the real thing."

24. Marcel Proust, Pastiches et melanges (Paris: Nouvelle Revue Francaise, 1919), 11 n. 1: on Proust and the Lemoine affair, see also Alexandra Parigoris, "Pastiches and the Use of Tradition, 1917-1922," in On Classic Grounds: Picasso, Leger, De Chirico, and the New Classicism, ed. Elizabeth Cowley and Jennifer Mundy (London: Tate Gallery, 1990), 298-99.

In the Manner of Duchamp, 1942-47: the years of the "mirrorical return"

Art Bulletin, The, June, 2004 by Thomas Singer

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