Read e-book online aka Marcel Duchamp: Meditations on the Identities of an PDF

ISBN-10: 1935623265

ISBN-13: 9781935623267

Aka Marcel Duchamp is an anthology of contemporary essays by means of prime students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the entire variety of Duchamp's occupation, those papers study how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in building of creative identification and legacy, consisting of either own volition and contributions made by way of fellow artists, critics, and historians. This quantity is not just very important for its contributions to Duchamp stories and the sunshine it sheds at the higher effect of Duchamp's paintings and occupation on smooth and modern paintings, but additionally for what it unearths approximately how the background of artwork itself is formed over the years by means of moving agendas, evolving methodologies, and new discoveries.

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Finally, the stories have in common the resolution of Zeuxis’s aesthetic dilemma: The artist views a group of nude figures before selecting and combining the best features of five different women. The differences between the two versions include the precise locale (Cicero’s Croton versus Pliny’s Agrigentum) and the specific identity of the woman Zeuxis seeks to portray in the painting. Cicero’s explicit mention of Helen of Troy is, I think, as significant a detail as Pliny’s failure to specify the subject of the painting.

In other words, aesthetic success (or style) supersedes truth to nature in the evaluation of the mimetic arts. ³⁷ Classical mimesis remained the privileged model for the visual arts for much of Greek and Roman antiquity. ³⁸ By late antiquity, however, the influence of classical mimesis upon artistic practice had waned. Antimimetic philosophical traditions, including Plato’s theory of forms and the Jewish commandment prohibiting “graven images,” had persisted. The rise of Christianity gave both of these antimimetic traditions greater currency.

To claim otherwise would be idiotic, spiritually base, and even dangerous. ”³⁴ No matter how exact or lifelike the copy, it maintains its status as an image (eikon). ”³⁵ But images, Socrates explains, require a different standard. Manipulating, enhancing, or modifying an image does not change its status as an image. The story of Zeuxis’s grapes reinforces this lesson. Representation—no matter how closely it approximates reality—remains a falsehood. To mistake the image for true form results in disappointment for the bird and humiliation for Zeuxis.

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aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)

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