Word: duchamps
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...works by Munch." In The Hague, he saw works by Odilon Redon for the first time; then he went to Paris, where he teamed up with Painter Walter Pach and also wired Davies to come over and help him. The Americans "practically lived in taxicabs." They met the brothers Duchamp-Villon and the dealer Ambroise Vollard. They persuaded Constantin Brancusi to make his U.S. debut in their show, arranged for paintings by Braque and Picasso...
...spell it does today. On the other hand, the critics could not find words strong enough for Henri Matisse. Even the sensitive Harriet Monroe, editor of the avant-garde Poetry, called his pictures "the most hideous monstrosities ever perpetrated in the name of long-suffering art." As for Marcel Duchamp's Nude Descending a Staircase, everyone had a field day. Julian Street's description of it as an "explosion in a shingle factory" became almost a household phrase. Teddy Roosevelt compared it unfavorably to a Navajo rug in his bathroom-which, he thought, was "a far more satisfactory...
...Armory's Cézannes; Kuhn got John Quinn to invest in modern art. Collectors Walter Arensberg and Stephen C. Clark both bought from the show. The Metropolitan Museum of Art became the first U.S. museum to buy a Cézanne; a San Francisco dealer snapped up Duchamp's Nude sight unseen. As a matter of fact, Duchamp and his brother, Jacques Villon, sold everything they had on display...
Until he was 53, his work was rejected almost continuously by every U.S. show place, from the annual exhibitions of the National Academy to the famous Armory Show of 1913. Then, in 1917, he was accepted by an exhibition of independents, and French Painter Marcel Duchamp, the sensation of the Armory, declared an Eilshemius nude the finest painting of the 2,000 in the show. Artists such as Painter Joseph Stella and Sculptor Gaston Lachaise took up the Eilshemius banner...
...brain approach could lead to disaster, but if disasters there are in the Hirshhorn collection as a whole, they will not be found at the Guggenheim. From the 37 Daumiers to the 17 Degas, the 27 Moores and the 15 Giacomettis; from the three heads of Baudelaire-one by Duchamp-Villon, one by Rodin, and a third by Elie Nadelman-to Leonard Baskin's mournful John Donne in his Winding Cloth, to the delicate construction by Naum Gabo, the exhibition provides one delight after another...