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This book examines the work of Duchamp, Man Ray, and Picabia, three pioneering figures in the history of modernism. It explores the points of convergence and the parallels in their development throughout their careers. Central to this is their response to photography and film, and to the challenges posed to fine art by the development of mass production. Duchamp's paintings of 1911?12 were influenced by the representation of movement in photography, while Picabia's were shaped in part by the belief that the advent of the camera spelled the end of traditional painting. Man Ray used photography first to record his own art works and those of others, but soon saw in it a means of creating images of a status and inventiveness traditionally restricted to fine art. And, as this fully illustrated book shows, humor and eroticism were themes common to the work of all three artists.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Wathab Haj
reviewed Duchamp, Man Ray, Picabia on June 01, 2018
Duchamp, Man Ray, Picabia
One of the most interesting books of the Middle Ages is available in an excellent edition. Though several encyclopedias existed in the Middle Ages, Hugh's Didascalicon extends beyond mere data collection. Rather, his work is an audacious attempt to put all branches of human knowledge into order, constructing a comprehensive intellectual system. Thus, each discipline's origin, scope, purpose, and method are defined. Moreover, relationships between disciplines are established. The attempt alone is praiseworthy; its overall success is astounding.
Taylor's translation and edition is commendable. A substantial introduction opens the volume. Taylor's mastery of his subject matter is evident, though not flaunted. Furthermore, the text is littered with notes that explain difficult concepts, clarify obscure references, identify source materials, and point to helpful secondary literature. The translation is highly readable. I have a few quibbles with it, but given Taylor's stature, it may well be I rather than he who is in the wrong.
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