Marcel Duchamp

Marcel Duchamp (French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism[1][2] and conceptual art,[3] although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[4][5][6][7] Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as "retinal" art, intended only to please the eye. Importance[edit] Early life[edit] Marcel Duchamp was born in Blainville-Crevon Seine-Maritime in the Upper Normandy region of France, and grew up in a family that enjoyed cultural activities. Early work[edit]

Pablo Picasso Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7] Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. His work is often categorised into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). Early life Pablo Picasso and his sister Lola, c.1889 Picasso showed a passion and a skill for drawing from an early age. Fame

File:Duchamp Fountaine.jpg Jonathan Jones on how Duchamp's urinal revolutionised modern culture The object in Tate Modern is white and shiny, cast in porcelain, its slender upper part curving outward as it descends to a receiving bowl - into which I urinate. It's just a brief walk from here in the fifth-floor men's loo to Marcel Duchamp's Fountain, an object sealed in a plastic display case on a plinth that is nevertheless almost identical to the receptacle into which I've just pissed. This museum treasure is no more or less than Duchamp described it to his sister in a letter of spring 1917: une pissotière en porcelaine. Duchamp warned against an attitude of "aesthetic delectation" that would transfigure his urinal into something artistic. Yet, as a visual form, it is bizarrely lovely, so white and incongruously ethereal, and as art it is ... well, there's a question already tripping me up. The eminent New Yorkers who ran the American Society of Independent Artists decided in April 1917 that it wasn't. This, it seems to me, is the question no one asks about Duchamp.

Joseph Beuys Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; 12 May 1921 – 23 January 1986) was a German Fluxus, happening and performance artist as well as a sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the second half of the 20th century.[1][2] Biography[edit] Childhood and early life in the Third Reich (1921–1941)[edit] Joseph Beuys was born in Krefeld, the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). WW II (1941–1945)[edit] Studies and beginnings (1945–1960)[edit]

Modernism Hans Hofmann, "The Gate", 1959–1960, collection: Solomon R. Guggenheim Museum. Hofmann was renowned not only as an artist but also as a teacher of art, and a modernist theorist both in his native Germany and later in the U.S. During the 1930s in New York and California he introduced Modernism and modernist theories to a new generation of American artists. Through his teaching and his lectures at his art schools in Greenwich Village and Provincetown, Massachusetts, he widened the scope of Modernism in the United States.[1] Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. History[edit] Beginnings: the 19th century[edit] However, the Industrial Revolution continued. The beginnings of modernism in France[edit] Influential in the early days of Modernism were the theories of Sigmund Freud (1856–1939). Explosion, early 20th century to 1930[edit]

Nam June Paik Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean American artist. He worked with a variety of media and is considered to be the founder of video art.[1][2] He was married to the video artist Shigeko Kubota in 1965. Paik is credited with an early usage (1974) of the term "electronic super highway" in application to telecommunications.[3] Early life[edit] Born in Seoul in 1932, the youngest of five siblings, Paik had 2 older brothers and 2 older sisters. Paik then moved to Germany to study music history with composer Thrasybulos Georgiades at Munich University.[4] While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Joseph Beuys and Wolf Vostell who inspired him to work in the field of electronic art.[5] Works[edit] Pre-Bell-Man, statue in front of the 'Museum für Kommunikation', Frankfurt am Main, Germany Cage suggested Paik look into Oriental music and Oriental religion. Exhibitions[edit] Collections[edit] Archive[edit]

Marcel Duchamp - French Artist Henri-Robert-Marcel Duchamp, was born on July 28th, 1887, near Blainville, France. In 1904, he traveled to Paris to join his artist brothers, Raymond Duschamp-Villon and Jacques Villon. In Paris, Marcel studied painting at the Academie Julian, until 1905. His early work was Post-Impressionist. In 1908, Duchamp’s work was exhibited at the Salon di Automne, and in 1909 at the Salon des Independants, both in Paris. In 1911, at their Puteaux home, the brothers hosted a regular discussion group with other writers and artists, including: Picabia, Fernand Leger, Jean Metzinger, Albert Gleizes, Robert and Sonia Delaunay, Juan Gris, Roger de la Fresnaye and Alexander Archipenko. Orphism, led by the Delaunays, sought to produce pure color harmonies as independent of nature as music. In 1912, Duchamp produced two of his iconic works: Nude Descending a Staircase No. 2, and The Bride. Duchamp’s Bride, was an even more disturbing development then his Nude.

The Beatles The Beatles were an English rock band that formed in Liverpool, in 1960. With John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the greatest and most influential act of the rock era.[1] Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several genres, ranging from pop ballads to psychedelic and hard rock, often incorporating classical elements in innovative ways. In the early 1960s, their enormous popularity first emerged as "Beatlemania", but as their songwriting grew in sophistication they came to be perceived as an embodiment of the ideals shared by the era's sociocultural revolutions. History 1957–62: formation, Hamburg, and UK popularity In March 1957, John Lennon, then aged sixteen, formed a skiffle group with several friends from Quarry Bank school. Koschmider had converted a couple of strip clubs in the district into music venues, and he initially placed the Beatles at the Indra Club. "British Invasion"