Marcel Duchamp’s “the Bride Stripped Bare by Her Bachelors, Even”

1751 WordsJul 14, 20088 Pages
Marcel Duchamp was an innovative groundbreaking artist who during his lifetime continually pushed the boundaries of the current art scene. Due to his pioneering in art, he had a definitive influence upon artistic styles to come. Duchamp is typically grouped in to the Dadaist or Surrealist movements, however his involvement in the art world is worth more than just being placed into a category. In particular, his work “The Bride Stripped Bare by Her Bachelors, Even” or “The Large Glass” shows just how much he can test the limits of art during his time. Duchamp was receiving much notoriety, both good and bad after painting “Nude Descending a Staircase”. At this time, World War I was making Paris a rather uncomfortable home for him, so he…show more content…
Because of this, the background never looks the same. This is surely another concept that Duchamp enjoyed; the chaotic randomness of the world behind the glass. The lighting in the room changes the contrast and illumination of the piece as well. His other works that hang in the same room add to the backgroundless background. It is impossible to pinpoint an exact meaning for The Large Glass, but then again, Duchamp most likely intended that. Based on the elements however, many view the piece to be an exploration into male and female interactions and desires. Andrew Stafford offers various explanations on one of his websites; understandingduchamp.com. He states that “The Large Glass is a picture of unseen forces that shape human erotic activity—the realm of ego, desire, and other mysteries (www.understandingduchamp.com). He goes on to claim that the title is ironic. This is possible, as it would not be outside of Duchamp’s realm to do so. By this, Stafford means to say that Duchamp is trying to indicate that The Bride herself is inciting her Bachelors. The existential meanings of the work go even deeper than that. The sheets of glass allow the viewer to look directly at the work without really seeing anything but what is on the other side. In that sense, Duchamp may be saying that visual perception means nothing, and rarely leads to understanding. Duchamp’s liking of word play is made evident by his description of the central divider. He refers to this as The

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