Word: marcell
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...Like Marcel Duchamp, Villon and the futurists, Kupka seized the threat by the horns, using photographs to revise his practice as a painter. In a figure painting entitled Planes by Colors, Large Nude, 1909-10, Kupka had taken the un inhibited color of Fauvism and given it a dense, architectural solidity (it seems right that the model's pose, monumental as it is, should mimic that of Michel angelo's Leda). The problem was now to set those planes in motion; for that, Kupka resorted to one of the great novelties of the time, the high-speed sequential...
...known to have influenced Picasso's own sculpture, and Nadelman's place among the progenitors of Cubism is assured. Exhibition after exhibition of his work sold out, and he moved to New York on the eve of World War I. In the '20s Nadelman and Marcel Duchamp were the male sex symbols of transatlantic culture...
...power of the school at its early stage. Most viewers won't come to the show with a fund of Bauhaus history. Instead, they're interested because the name connotes an austere functionalism in design that has infiltrated 1970s American life everywhere from typography to the mass-produced Marcel Breuer steel tubular chair. They'll wonder how this regulated style ever evolved from these 51 varied graphics--expressionist, primitive, whimsical. realistic, neo-classical, and architectural. And the Busch-Reisinger is not helping anyone by providing enlightening text or more visual information. No linear historical perspective adds to the horizontal historical...
...Museum of Art, shows how this legendary affectlessness took form as painting. Organized by Brenda Richardson, the museum's curator of painting and sculpture, the exhibition consists of 40 works. From the outset, Warhol's reputation was based on a sort of iconic shock value-nobody since Marcel Duchamp had been so flat and matter-of-fact. Warhol presented a row of stenciled Coca-Cola bottles as a work of art, turned out a series of 32 Campbell's soup cans differing only in color and the flavor printed on their labels, silk-screened the same photo...
SEVERAL YEARS AGO Marcel Ophuls's documentary film The Sorrow and the Pits reopened the painful subject of French behavior during the German occupation. The national collapse of 1940 represented to most Frenchmen a devastating indictment of their government and society. Consequently, in the process of national reconstruction after the war, nationalist politicians sought to project an image of a heroic France united behind de Gaulle and the Resistance Ophuls attempted to show that this image was a self-serving myth, since the Resistance never comprised more than a tiny fraction of the population, which for the most part collaborated...