Top 159 Quotes & Sayings by Marcel Duchamp

Explore popular quotes and sayings by a French artist Marcel Duchamp.
Last updated on September 16, 2024.
Marcel Duchamp

Henri-Robert-Marcel Duchamp was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. 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 20th century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art, and he had a seminal influence on the development of conceptual art. By the time of World War I he had rejected the work of many of his fellow artists as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to use art to serve the mind.

I shy away from the word 'creation.' In the ordinary, social meaning of the word - well, it's very nice, but fundamentally, I don't believe in the creative function of the artist. He's a man like any other.
Art doesn't interest me. Only artists interest me.
I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position. — © Marcel Duchamp
I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.
Living is more a question of what one spends than what one makes.
A game of chess is a visual and plastic thing, and if it isn't geometric in the static sense of the word, it is mechanical, since it moves. It's a drawing; it's a mechanical reality.
I have forced myself to contradict myself in order to avoid conforming to my own taste.
Man can never expect to start from scratch; he must start from ready-made things, like even his own mother and father.
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 from all that retinal painting.
Words such as truth, art, veracity, or anything are stupid in themselves.
I happen to have been born a Cartesian. The French education is based on a sequence of strict logic. You carry it with you.
Words are the tools of 'to be' - of expression. They are completely built on the fact that you 'are,' and in order to express it, you have built a little alphabet, and you make your words from it.
In the 'Nude Descending a Staircase,' I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn't descending an equally real staircase.
Marcel, no more painting; go get a job. — © Marcel Duchamp
Marcel, no more painting; go get a job.
All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.
I am afraid to end up being in need to sell canvases - in other words, to be a society painter.
I am against the word 'anti' because it's a little bit like 'atheist,' as compared to 'believer.' And an atheist is just as much of a religious man as the believer is.
I wanted to use my possibility to be an individual, and I suppose I have, no?
I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.
When I put a bicycle wheel on a stool, the fork down, there was no idea of a 'ready-made' or anything else. It was just a distraction. I didn't have any special reason to do it, or any intention of showing it or describing anything.
In the midst of each epoch, I fully realize that a new epoch will dawn.
I became a librarian at the Sainte-Genevieve Library in Paris. I made this gesture to rid myself of a certain milieu, a certain attitude, to have a clean conscience, but also to make a living. I was twenty-five. I had been told that one must make a living, and I believed it.
Chess can be described as the movement of pieces eating one another.
I refused to accept anything, doubted everything. So, doubting everything, I had to find something that had not existed before, something I had not thought of before. Any idea that came to me, the thing would be to turn it around and try to see it with another set of senses.
If your choice enters into it, then taste is involved - bad taste, good taste, uninteresting taste. Taste is the enemy of art, A-R-T.
Art is all a matter of personality.
What art is, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap.
The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me.
Alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding.
In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.
Distortion came first from the fauves, who, in turn, were under the strong influence of primitive art.
Everything important that I have done can be put into a little suitcase.
Humor and laughter - not necessarily derogatory derision - are my pet tools. This may come from my general philosophy of never taking the world too seriously - for fear of dying of boredom.
It is curious to note how fragile the memory is, even for the important times in one's life. This is, moreover, what explains the fortunate fantasy of history.
I haven't been in the Louvre for twenty years. It doesn't interest me because I have these doubts about the value of the judgments which decided that all these pictures should be presented to the Louvre instead of others which weren't even considered.
Can works be made which are not 'of art'?
Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude.
Since Courbet, it's been believed that painting is addressed to the retina. That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral... our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
I came to feel an artist might use anything - a dot, a line, the most conventional or unconventional symbol - t say what he wanted to say. — © Marcel Duchamp
I came to feel an artist might use anything - a dot, a line, the most conventional or unconventional symbol - t say what he wanted to say.
The word 'art' interests me very much. If it comes from Sanskrit, as I've heard, it signifies 'making.' Now everyone makes something, and those who make things on a canvas with a frame, they're called artists. Formerly, they were called craftsmen, a term I prefer. We're all craftsmen, in civilian or military or artistic life.
The individual - man as a man, man as a brain, if you like - interests me more than what he makes because I've noticed that most artists only repeat themselves.
In France, in Europe, the young artists of any generation always act as grandsons of some great man - Poussin, for example, or Victor Hugo. They can't help it. Even if they don't believe in that, it gets in their system. And so when they come to produce something of their own, the tradition is nearly indestructible.
Tradition is the great misleader because it's too easy to follow what has already been done - even though you may think you're giving it a kick. I was really trying to invent, instead of merely expressing myself.
It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.
I am interested in ideas, not merely in visual products.
A painting that doesn't shock isn't worth painting.
Art is a habit-forming drug. Art has absolutely no existence as veracity, as truth. People always speak of it with this great, religious reverence, but why should it be so revered?
I was never interested in looking at myself in an aesthetic mirror. My intention was always to get away from myself, though I knew perfectly well that I was using myself. Call it a little game between 'I' and 'me.'
What am I? Do I know? I am a man: quite simply, a 'breather.' — © Marcel Duchamp
What am I? Do I know? I am a man: quite simply, a 'breather.'
One must pass through the network of influence. One is obligated to be influenced, and one accepts this influence very naturally. From the start, one doesn't realize this. The first thing to know: one doesn't realize one is influenced. One thinks he is already liberated, and one is far from it!
I like living, breathing better than working... Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It's a kind of constant euphoria.
There is something like an explosion in the meaning of certain words: they have a greater value than their meaning in the dictionary.
The curious thing about the Ready-Made is that I've never been able to arrive at a definition or explanation that fully satisfies me. There's still magic in the idea, so I'd rather keep it that way than try to be exoteric about it.
Things were sort of Bohemian in Montmartre - one lived, one painted, one was a painter - all that doesn't mean anything, fundamentally.
Rational intelligence is dangerous and leads to ratiocination. The painter is a medium who doesn't realize what he is doing. No translation can express the mystery of sensibility, a word, still unreliable, which is nevertheless the basis of painting or poetry, like a kind of alchemy.
One is a painter because one wants so-called freedom; one doesn't want to go to the office every morning.
I don't believe in art. I believe in artists.
You have to approach something with indifference, as if you had no aesthetic emotion. The choice of readymades is always based on visual indifference and, at the same time, on the total absence of good or bad taste.
My Ready-Mades have nothing to do with the 'objet trouve' because the so-called 'found object' is completely directed by personal taste. Personal taste decides that this is a beautiful object and is unique.
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-mades aided' and also works of assemblage.
When you make a painting, even abstract, there is always a sort of necessary filling-in.
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