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146-410: Henri-Robert-Marcel Duchamp ( UK : / ˈ dj uː ʃ ɒ̃ / , US : / dj uː ˈ ʃ ɒ̃ , dj uː ˈ ʃ ɑː m p / ; French: [maʁsɛl dyʃɑ̃] ; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism , Dada , and conceptual art . He is commonly regarded, along with Pablo Picasso and Henri Matisse , as one of

292-565: A West Germanic language that originated from the Anglo-Frisian dialects brought to Britain by Germanic settlers from various parts of what is now northwest Germany and the northern Netherlands. The resident population at this time was generally speaking Common Brittonic —the insular variety of Continental Celtic , which was influenced by the Roman occupation. This group of languages ( Welsh , Cornish , Cumbric ) cohabited alongside English into

438-591: A French word for "hobbyhorse". The movement primarily involved visual arts, literature, poetry, art manifestoes , art theory , theatre, and graphic design , and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti- bourgeois and had political affinities with the radical left. Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in

584-480: A bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Although it is often assumed that the Bicycle Wheel represents the first of Duchamp's "Readymades" , this particular installation was never submitted for any art exhibition, and it was eventually lost. However, initially, the wheel was simply placed in the studio to create atmosphere: "I enjoyed looking at it just as I enjoy looking at

730-549: A century as Received Pronunciation (RP). However, due to language evolution and changing social trends, some linguists argue that RP is losing prestige or has been replaced by another accent, one that the linguist Geoff Lindsey for instance calls Standard Southern British English. Others suggest that more regionally-oriented standard accents are emerging in England. Even in Scotland and Northern Ireland, RP exerts little influence in

876-426: A chaud au cul" . This can be translated as "She has a hot ass", implying that the woman in the painting is in a state of sexual excitement and availability. It may also have been intended as a Freudian joke, referring to Leonardo da Vinci 's alleged homosexuality. Duchamp gave a "loose" translation of L.H.O.O.Q. as "there is fire down below" in a late interview with Arturo Schwarz . According to Rhonda Roland Shearer ,

1022-501: A greater movement, normally [əʊ], [əʉ] or [əɨ]. Dropping a morphological grammatical number , in collective nouns , is stronger in British English than North American English. This is to treat them as plural when once grammatically singular, a perceived natural number prevails, especially when applying to institutional nouns and groups of people. The noun 'police', for example, undergoes this treatment: Police are investigating

1168-406: A lesser class or social status and often discounted or considered of a low intelligence. Another contribution to the standardisation of British English was the introduction of the printing press to England in the mid-15th century. In doing so, William Caxton enabled a common language and spelling to be dispersed among the entirety of England at a much faster rate. Samuel Johnson's A Dictionary of

1314-619: A liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911) The Salon d'Automne of 1912 was held in Paris at the Grand Palais from 1 October to 8 November. The Cubists (a group of artists now recognized as such) were regrouped into the same room, XI. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI of

1460-582: A long review in the April 20, 1911, issue of L'Intransigeant . Thus Cubism spread into the literary world of writers, poets, critics, and art historians. Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8. Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at

1606-416: A new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining

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1752-486: A performance of a stage adaptation of Raymond Roussel 's 1910 novel, Impressions d'Afrique, which featured plots that turned in on themselves, word play, surrealistic sets and humanoid machines. He credited the drama with having radically changed his approach to art, and having inspired him to begin the creation of his The Bride Stripped Bare By Her Bachelors, Even , also known as The Large Glass . Work on The Large Glass continued into 1913, with his invention of inventing

1898-489: A plaster bust, Œsope (no. 498 and 499). His brother Jacques Villon exhibited six works. Kees van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited Westminster-Londres (438), Arbres dans un chemin creux (444) and several other works painted at l'Estaque . Retrospective exhibitions at the 1906 Salon d'Automne included Gustave Courbet , Eugène Carrière (49 works) and Paul Gauguin (227 works). At

2044-477: A platform to broaden the dissemination of Impressionism and its extensions to a popular audience. Choosing the autumn season for the exhibition was strategic in several ways: it not only allowed artists to exhibit canvases painted outside ( en plein air ) during the summer, it stood out from the other two large salons (the Société Nationale des Beaux-Arts and Salon des artistes français ) which took place in

2190-648: A process called T-glottalisation . National media, being based in London, have seen the glottal stop spreading more widely than it once was in word endings, not being heard as "no [ʔ] " and bottle of water being heard as "bo [ʔ] le of wa [ʔ] er". It is still stigmatised when used at the beginning and central positions, such as later , while often has all but regained /t/ . Other consonants subject to this usage in Cockney English are p , as in pa [ʔ] er and k as in ba [ʔ] er. In most areas of England and Wales, outside

2336-587: A radical departure further still. I have in front of me a small cutting from an evening newspaper, The Press , on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes . No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at

2482-511: A regional accent or dialect. However, about 2% of Britons speak with an accent called Received Pronunciation (also called "the King's English", "Oxford English" and " BBC English" ), that is essentially region-less. It derives from a mixture of the Midlands and Southern dialects spoken in London in the early modern period. It is frequently used as a model for teaching English to foreign learners. In

2628-459: A repertoire of forms. He made notes, sketches and painted studies, and even drew some of his ideas on the wall of his apartment. Toward the end of 1912, he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains , an adventure that Buffet-Picabia described as one of their "forays of demoralization, which were also forays of witticism and clownery ... the disintegration of

2774-581: A statement that if forced to choose, he would join the Salon d'Automne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by the press articles on the controversy worked in favor of the Salon d'Automne . Thus, Eugène Carrière saved the burgeoning salon. Henri Marcel, sympathetic to the Salon d'Automne , became director of the Beaux-Arts, and assured it would take place at

2920-620: A teacher who unsuccessfully attempted to "protect" his students from Impressionism , Post-Impressionism , and other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he also painted landscapes in an Impressionist style using oils. Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects. When he

3066-568: A thick impasto and larger brushstrokes. At the same exhibition Paul Cézanne was represented by ten works. He wouldn't live long enough to see the end of the show. Cézanne died 22 October 1906 (aged 67). His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Constantin Brâncuși entered three plaster busts: Portrait de M. S. Lupesco , L'Enfant and Orgueil (no. 218 - 220). Raymond Duchamp-Villon exhibited Dans le Silence (bronze) and

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3212-511: A urinal signed with the pseudonym "R. Mutt", shocked the art world in 1917. Fountain was selected in 2004 as "the most influential artwork of the 20th century" by 500 renowned artists and historians. In 1919, Duchamp made a parody of the Mona Lisa by adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription L.H.O.O.Q. , a phonetic game which, when read out loud in French quickly sounds like "Elle

3358-516: A variety of media. Key figures in the movement, apart from Duchamp, included: Hugo Ball , Emmy Hennings , Hans Arp , Raoul Hausmann , Hannah Höch , Johannes Baader , Tristan Tzara , Francis Picabia , Richard Huelsenbeck , Georg Grosz , John Heartfield , Beatrice Wood , Kurt Schwitters , and Hans Richter , among others. The movement influenced later styles, such as the avant-garde and downtown music movements, and groups including surrealism , Nouveau réalisme , pop art , and Fluxus . Dada

3504-491: A venue where unknown artists could be recognized, while 'wrestling' the public out of its complacency were, to Jourdain, the greatest contributions to society the critic could make. The platform of the Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in

3650-725: Is also due to London-centric influences. Examples of R-dropping are car and sugar , where the R is not pronounced. British dialects differ on the extent of diphthongisation of long vowels, with southern varieties extensively turning them into diphthongs, and with northern dialects normally preserving many of them. As a comparison, North American varieties could be said to be in-between. Long vowels /iː/ and /uː/ are usually preserved, and in several areas also /oː/ and /eː/, as in go and say (unlike other varieties of English, that change them to [oʊ] and [eɪ] respectively). Some areas go as far as not diphthongising medieval /iː/ and /uː/, that give rise to modern /aɪ/ and /aʊ/; that is, for example, in

3796-469: Is based on British English, but has more influence from American English , often grouped together due to their close proximity. British English, for example, is the closest English to Indian English, but Indian English has extra vocabulary and some English words are assigned different meanings. Salon d%27Automne Perceived as a reaction against the conservative policies of the official Paris Salon , this massive exhibition almost immediately became

3942-769: Is included in style guides issued by various publishers including The Times newspaper, the Oxford University Press and the Cambridge University Press . The Oxford University Press guidelines were originally drafted as a single broadsheet page by Horace Henry Hart, and were at the time (1893) the first guide of their type in English; they were gradually expanded and eventually published, first as Hart's Rules , and in 2002 as part of The Oxford Manual of Style . Comparable in authority and stature to The Chicago Manual of Style for published American English ,

4088-503: Is intended to depict the erotic encounter between a bride and her nine bachelors. A performance of the stage adaptation of Raymond Roussel 's novel Impressions d'Afrique , which Duchamp attended in 1912, inspired the piece. Notes, sketches and plans for the work were drawn on his studio walls as early as 1913. To concentrate on the work free from material obligations, Duchamp found work as a librarian while living in France. After immigrating to

4234-497: Is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players. Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, Chocolate Grinder ( Broyeuse de chocolat ), prefigures

4380-455: Is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism , an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism. New York Dada had a less serious tone than that of European Dadaism, and was not a particularly organized venture. Duchamp's friend Francis Picabia connected with

4526-736: Is washed up. Who will ever do anything better than that propeller? Tell me, can you do that?". Brâncuși later sculpted bird forms . U.S. Customs officials mistook them for aviation parts and attempted to collect import duties on them. In 1913, Duchamp withdrew from painting circles and began working as a librarian in the Bibliothèque Sainte-Geneviève to be able to earn a living wage while concentrating on scholarly realms and working on his Large Glass . He studied math and physics – areas where exciting new discoveries were taking place. The theoretical writings of Henri Poincaré particularly intrigued and inspired Duchamp. Poincaré postulated that

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4672-530: The Chambers Dictionary , and the Collins Dictionary record actual usage rather than attempting to prescribe it. In addition, vocabulary and usage change with time; words are freely borrowed from other languages and other varieties of English, and neologisms are frequent. For historical reasons dating back to the rise of London in the ninth century, the form of language spoken in London and

4818-522: The Grand Palais , the first Salon d'Automne was held in the poorly lit, humid basement of the Petit Palais . It was backed financially by Jansen. While Rodin applauded the endeavor, and submitted drawings, he refused to join doubting it would succeed. Notwithstanding, the first Salon d'Automne , which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and

4964-630: The Arensberg home, or caroused in Greenwich Village . Together with Man Ray, Duchamp contributed his ideas and humor to the New York activities, many of which ran concurrent with the development of his Readymades and The Large Glass . The most prominent example of Duchamp's association with Dada was his submission of Fountain , a urinal, to the Society of Independent Artists exhibit in 1917. Artworks in

5110-726: The Chambre des députés (and was debated at the Assemblée Nationale in Paris). In his 1921 essay on the Salon d'Automne, published in Les Echos (p. 23), founder Frantz Jourdain denouncing aesthetic snobbery, writes that the saber-rattling revolutionaries dubbed the Cubists , Futurists and Dadaists were actually crusty reactionaries who scorned modern progress and revealed contempt for democracy, science, industry and commerce. For Jourdain,

5256-637: The East Midlands became standard English within the Court, and ultimately became the basis for generally accepted use in the law, government, literature and education in Britain. The standardisation of British English is thought to be from both dialect levelling and a thought of social superiority. Speaking in the Standard dialect created class distinctions; those who did not speak the standard English would be considered of

5402-558: The English language in England , or, more broadly, to the collective dialects of English throughout the British Isles taken as a single umbrella variety, for instance additionally incorporating Scottish English , Welsh English , and Northern Irish English . Tom McArthur in the Oxford Guide to World English acknowledges that British English shares "all the ambiguities and tensions [with]

5548-522: The Nude was at the center of much of the controversy. At about this time, Duchamp read Max Stirner 's philosophical tract, The Ego and Its Own , the study which he considered another turning point in his artistic and intellectual development. He called it "a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything." While in Munich in 1912, he painted

5694-615: The Puteaux Group , or the Section d'Or . Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery. During this period, Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of

5840-484: The Royal Spanish Academy with Spanish. Standard British English differs notably in certain vocabulary, grammar, and pronunciation features from standard American English and certain other standard English varieties around the world. British and American spelling also differ in minor ways. The accent, or pronunciation system, of standard British English, based in southeastern England, has been known for over

5986-448: The Salon des Indépendants , never forgave Jourdain for having founded a rival salon. What he had not predicted was a retaliation that threatened the future of the new salon. Carolus-Duran (president of the Société Nationale des Beaux-Arts) threatened to ban from his Société established artists who might consider exhibiting at the Salon d'Automne . Retaliating in defense of Jourdain, Eugène Carrière (a respected artistic figure) issued

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6132-486: The Scots language or Scottish Gaelic ). Each group includes a range of dialects, some markedly different from others. The various British dialects also differ in the words that they have borrowed from other languages. Around the middle of the 15th century, there were points where within the 5 major dialects there were almost 500 ways to spell the word though . Following its last major survey of English Dialects (1949–1950),

6278-560: The University of Leeds has started work on a new project. In May 2007 the Arts and Humanities Research Council awarded a grant to Leeds to study British regional dialects. The team are sifting through a large collection of examples of regional slang words and phrases turned up by the "Voices project" run by the BBC , in which they invited the public to send in examples of English still spoken throughout

6424-601: The West Country and other near-by counties of the UK, the consonant R is not pronounced if not followed by a vowel, lengthening the preceding vowel instead. This phenomenon is known as non-rhoticity . In these same areas, a tendency exists to insert an R between a word ending in a vowel and a next word beginning with a vowel. This is called the intrusive R . It could be understood as a merger, in that words that once ended in an R and words that did not are no longer treated differently. This

6570-517: The 'modern spirit' signified more than a preference for Cézanne over Gérome . Needed was a clear understanding of one's epoch, its needs, its beauty, its ambience, its essence. 1 October through 8 November 1912, in excess of 1,770 works were displayed at the 10th Salon d'Automne. Paul Gallimard organized the exhibition of 52 books. The poster for the 1912 show was made by Pierre Bonnard . Sessions of chamber music took place every Friday. Morning literary sessions were held every Wednesday. The cost of

6716-493: The 1903 inaugural exhibition, three other dates remain historically significant for the Salon d'Automne : 1905 bore witness to the birth of Fauvism ; 1910 witnessed the launch of Cubism ; and 1912 resulted in a xenophobic and anti-modernist quarrel in the National Assembly (France) . The aim of the salon was to encourage the development of the fine arts , to serve as an outlet for young artists (of all nationalities), and

6862-619: The 1904 Salon d'Automne was dedicated to Paul Cézanne , with thirty-one works, including various portraits, self-portraits, still lifes, flowers, landscapes and bathers (many from the collection of Ambroise Vollard , including photographs taken by the artist, exhibited in the photography section). Another room presented works of Puvis de Chavannes , with 44 works. And another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively. After viewing

7008-788: The 1904 Salon d'Automne, held at the Grand Palais 15 October to 15 November, Jean Metzinger , exhibited three paintings entitled Marine (Le Croisic), Marine (Arromanches), Marine (Houlgate) (no. 907-909); Robert Delaunay , 19 years of age, exhibited his Panneau décoratif (l'été) (no. 352 of the catalogue). Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers (Picardie 1902) and Le matin à Courbevoie (1904) , (no. 536, 537). Henri Matisse presented fourteen works (607-620). Kees van Dongen presented two works, Jacques Villon , three paintings, Francis Picabia three, Othon Friesz four, Albert Marquet seven, Jean Puy five, Georges Rouault eight paintings, Maufra ten, Manguin five, Vallotton three, and Valtat three. A room at

7154-494: The 1911 Salon d'Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living. In 1911, at Jacques' home in Puteaux , the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay , Fernand Léger , Roger de La Fresnaye , Albert Gleizes , Jean Metzinger , Juan Gris , and Alexander Archipenko . Poets and writers also participated. The group came to be known as

7300-472: The 1913 Armory Show, sought Duchamp's advice on modern art. Beginning with Société Anonyme, Dreier also depended on Duchamp's counsel in gathering her collection, as did Arensberg. Later Peggy Guggenheim , Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows. Dada or Dadaism was an art movement of the European avant-garde in

7446-603: The 21st century. RP, while long established as the standard English accent around the globe due to the spread of the British Empire , is distinct from the standard English pronunciation in some parts of the world; most prominently, RP notably contrasts with standard North American accents. In the 21st century, dictionaries like the Oxford English Dictionary , the Longman Dictionary of Contemporary English ,

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7592-504: The Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled L'Abondance . "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements". This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to

7738-452: The Cubist exhibition, and as in the 1905 Salon d'Automne, the critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. It was also Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached

7884-607: The Cubists, as well as the movement and dynamism of the Futurists . He first submitted the piece to appear at the Cubist Salon des Indépendants , but Albert Gleizes (according to Duchamp in an interview with Pierre Cabanne, p. 31) asked Duchamp's brothers to have him voluntarily withdraw the painting, or to paint over the title that he had painted on the work and rename it something else. Duchamp's brothers did approach him with Gleizes' request, but Duchamp quietly refused. However, there

8030-793: The Dada group in Zürich, bringing to New York the Dadaist ideas of absurdity and "anti-art". Duchamp and Picabia first met in September 1911 at the Salon d'Automne in Paris, where they were both exhibiting. Duchamp showed a larger version of his Young Man and Girl in Spring 1911, a work that had an Edenic theme and a thinly veiled sexuality also found in Picabia's contemporaneous Adam and Eve 1911. According to Duchamp, "our friendship began right there". A group met almost nightly at

8176-408: The Dada group. "Readymades" were found objects which Duchamp chose and presented as art. In 1913, Duchamp installed a Bicycle Wheel in his studio. The Bicycle Wheel was an idea of Elsa von Freytag-Loringhoven. However, the idea of Readymades did not fully develop until 1915. The idea was to question the very notion of Art, and the adoration of art, which Duchamp found "unnecessary". My idea

8322-816: The English Language (1755) was a large step in the English-language spelling reform , where the purification of language focused on standardising both speech and spelling. By the early 20th century, British authors had produced numerous books intended as guides to English grammar and usage, a few of which achieved sufficient acclaim to have remained in print for long periods and to have been reissued in new editions after some decades. These include, most notably of all, Fowler's Modern English Usage and The Complete Plain Words by Sir Ernest Gowers . Detailed guidance on many aspects of writing British English for publication

8468-813: The French Ministry of Culture, including Des souteneurs encore dans la force de l'âge et le ventre dans l'herbe by Alphonse Allais , consisting of a green carriage curtain suspended from a wooden cylinder. This work was certainly exhibited at the Incoherents exhibitions in Paris between 1883 and 1893. According to Johann Naldi, this work is the oldest known readymade and was a source of inspiration for Marcel Duchamp. Duchamp worked on his complex Futurism -inspired piece The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) from 1915 to 1923, except for periods in Buenos Aires and Paris in 1918–1920. He executed

8614-595: The Germanic schwein ) is the animal in the field bred by the occupied Anglo-Saxons and pork (like the French porc ) is the animal at the table eaten by the occupying Normans. Another example is the Anglo-Saxon cu meaning cow, and the French bœuf meaning beef. Cohabitation with the Scandinavians resulted in a significant grammatical simplification and lexical enrichment of the Anglo-Frisian core of English;

8760-778: The Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar among the Dadaists, and led Duchamp to resign from the board of the Independent Artists. Along with Henri-Pierre Roché and Beatrice Wood, Duchamp published multiple Dada magazines in New York—including The Blind Man and Rongwrong —which included art, literature, humor and commentary. When he returned to Paris after World War I, Duchamp did not participate in

8906-558: The Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety." It was from that moment on that the word Cubism began to be widely used. [...] Never had

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9052-891: The Oxford Manual is a fairly exhaustive standard for published British English that writers can turn to in the absence of specific guidance from their publishing house. British English is the basis of, and very similar to, Commonwealth English . Commonwealth English is English as spoken and written in the Commonwealth countries , though often with some local variation. This includes English spoken in Australia , Malta , New Zealand , Nigeria , and South Africa . It also includes South Asian English used in South Asia, in English varieties in Southeast Asia , and in parts of Africa. Canadian English

9198-742: The Palais des Beaux-Arts de la Ville de Paris ( Petit Palais des Champs-Élysées ) in Paris. Included in the show were the works of Pierre Bonnard , Coup de vent , Le magasin de nouveautés , Étude de jeune femme (no. 62, 63 and 64); Albert Gleizes , A l'ombre (l'Ile fleurie) , Le soir aux environs de Paris (no. 252, 253); Henri Matisse , Dévideuse picarde (intérieur) , Tulipes (386, 387), along with paintings by Francis Picabia , Jacques Villon , Édouard Vuillard , Félix Vallotton , Maxime Maufra , Henri Manguin , Armand Guillaumin , Henri Lebasque , Gustave Loiseau , Albert Marquet , Eugene Chigot with an homage to Paul Gauguin who died May 8, 1903. At

9344-651: The Salon d'Automne of 1912, with La Maison Cubiste , the collaborative effort of the designer André Mare , Raymond Duchamp-Villon and other artists associated with the Section d'Or . Henri Matisse exhibited La Danse at the Salon d'Automne of 1910. In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger ( Le goûter (Tea Time) ), Henri Le Fauconnier , Fernand Léger , Albert Gleizes , Roger de La Fresnaye , André Lhote , Jacques Villon , Marcel Duchamp , František Kupka , Alexander Archipenko , Joseph Csaky and Francis Picabia . The result

9490-450: The Salon d'Automne where the Cubists, among whom were several non-French citizens, exhibited their works. The resistance to both foreigners and avant-garde art was part of a more profound crisis: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during

9636-410: The Salon des Indépendants in the spring of 1905. Two large retrospectives occupied adjacent rooms at the 1905 Salon d'Automne: one of Jean-Auguste-Dominique Ingres and the other Édouard Manet . Despite the reputation for the contrary, the Salon d'Automne in 1905 was rather well received by the press, including critical praise for the Ingres and Manet retrospectives. The artists exhibiting were for

9782-590: The Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word Cubism was not at that time current. (Albert Gleizes, 1925) In a review of the Salon, the poet Roger Allard (1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri le Fauconnier's studio near

9928-433: The Section d'Or exhibition during the fall of 1912. The impression is, Brooke writes, "it was precisely because he wished to remain part of the group that he withdrew the painting; and that, far from being ill treated by the group, he was given a rather privileged position, probably through the patronage of Picabia". The painting was exhibited for the first time at Galeries Dalmau , Exposició d'Art Cubista , Barcelona, 1912,

10074-461: The Société Nationale des Beaux-Arts, the Société des Artistes Français , and the École des Beaux-Arts (Paris), recognized as the foremost school of art. In addition to his role as an influential art critic prior to the creation of the Salon d'Automne , Jourdain was a member of the Decorative Arts jury at the Chicago World's Fair (1893) , the Brussels International (1897) and the Paris Exposition Universelle (1900) . Jourdain clearly outlined

10220-599: The South East, there are significantly different accents; the Cockney accent spoken by some East Londoners is strikingly different from Received Pronunciation (RP). Cockney rhyming slang can be (and was initially intended to be) difficult for outsiders to understand, although the extent of its use is often somewhat exaggerated. Londoners speak with a mixture of accents, depending on ethnicity, neighbourhood, class, age, upbringing, and sundry other factors. Estuary English has been gaining prominence in recent decades: it has some features of RP and some of Cockney. Immigrants to

10366-463: The UK in recent decades have brought many more languages to the country and particularly to London. Surveys started in 1979 by the Inner London Education Authority discovered over 125 languages being spoken domestically by the families of the inner city's schoolchildren. Notably Multicultural London English , a sociolect that emerged in the late 20th century spoken mainly by young, working-class people in multicultural parts of London . Since

10512-621: The United Kingdom , as well as within the countries themselves. The major divisions are normally classified as English English (or English as spoken in England (which is itself broadly grouped into Southern English , West Country , East and West Midlands English and Northern English ), Northern Irish English (in Northern Ireland), Welsh English (not to be confused with the Welsh language ), and Scottish English (not to be confused with

10658-514: The United States in 1915, he began work on the piece, financed by the support of the Arensbergs. The piece is partly constructed as a retrospective of Duchamp's works, including a three-dimensional reproduction of his earlier paintings Bride (1912), Chocolate Grinder (1914) and Glider containing a water mill in neighboring metals (1913–1915), which has led to numerous interpretations. The work

10804-458: The West Scottish accent. Phonological features characteristic of British English revolve around the pronunciation of the letter R, as well as the dental plosive T and some diphthongs specific to this dialect. Once regarded as a Cockney feature, in a number of forms of spoken British English, /t/ has become commonly realised as a glottal stop [ʔ] when it is in the intervocalic position, in

10950-410: The adjective little is predominant elsewhere. Nevertheless, there is a meaningful degree of uniformity in written English within the United Kingdom, and this could be described by the term British English . The forms of spoken English, however, vary considerably more than in most other areas of the world where English is spoken and so a uniform concept of British English is more difficult to apply to

11096-410: The apparent Mona Lisa reproduction is in fact a copy modeled partly on Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the objects which he claimed to be "found objects". In 2017-2018, the French expert Johann Naldi found and identified seventeen unpublished works in a private collection, classified as a national treasure on May 7, 2021 by

11242-481: The award of the grant in 2007, Leeds University stated: that they were "very pleased"—and indeed, "well chuffed"—at receiving their generous grant. He could, of course, have been "bostin" if he had come from the Black Country , or if he was a Scouser he would have been well "made up" over so many spondoolicks, because as a Geordie might say, £460,000 is a "canny load of chink". Most people in Britain speak with

11388-454: The blue-black canvas strips and attached them to glass. He then cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed in gold were glued to the "stoppage" backgrounds. The piece appears to literally follow Poincaré's School of the Thread , part of a book on classical mechanics. In his studio he mounted

11534-443: The boldly colored canvases of Henri Matisse , André Derain , Albert Marquet , Maurice de Vlaminck , Kees van Dongen , Charles Camoin , and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves " (wild beasts), thus giving their movement the name by which it became known, Fauvism . Vauxcelles described their work with the phrase " Donatello chez les fauves" ("Donatello among

11680-541: The catalogue). Matisse exhibited his Liseuse , two still lifes ( Tapis rouge and à la statuette ), flowers and a landscape (no. 1171-1175) Robert Antoine Pinchon showed his Prairies inondées ( Saint-Étienne-du-Rouvray , près de Rouen ) (no. 1367), now at the Musée de Louviers . Pinchon's paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues,

11826-441: The concept of art". Duchamp's notes from the trip avoid logic and sense, and have a surrealistic, mythical connotation. Duchamp painted few canvases after 1912, and in those he did, he attempted to remove " painterly " effects, and to use a technical drawing approach instead. His broad interests led him to an exhibition of aviation technology during this period, after which Duchamp said to his friend Constantin Brâncuși , "Painting

11972-613: The country. The BBC Voices project also collected hundreds of news articles about how the British speak English from swearing through to items on language schools. This information will also be collated and analysed by Johnson's team both for content and for where it was reported. "Perhaps the most remarkable finding in the Voices study is that the English language is as diverse as ever, despite our increased mobility and constant exposure to other accents and dialects through TV and radio". When discussing

12118-648: The course of supporting himself by giving French lessons, and through some library work, he quickly learned the language. Duchamp became part of an artist colony in Ridgefield, New Jersey , across the Hudson River from New York City. For two years the Arensbergs, who would remain his friends and patrons for 42 years, were the landlords of his studio. In lieu of rent, they agreed that his payment would be The Large Glass . An art gallery offered Duchamp $ 10,000 per year in exchange for all of his yearly production, but he declined

12264-507: The course of time. Once launched at the 1910 Salon d'Automne, the new movement would rapidly spread throughout Paris. Convinced that exposure to the work of German designers would prompt healthy competition in the decorative arts, Frantz Jourdain invited artists, architects, designers, and industrialists from the Munich-based Deutscher Werkbund to exhibit at the 1910 salon. "Our art menaced by Bavarian decorators" read

12410-419: The creation of the person who formulated it, not as truth. Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces, 3 Standard Stoppages ( 3 stoppages étalon ), he dropped three 1-meter lengths of thread onto prepared canvases, one at a time, from a height of 1 meter. The threads landed in three random undulating positions. He varnished them into place on

12556-409: The critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever. In nearly all the papers, all composure

12702-433: The dangers of following the academic path in his review of the 1889 Exposition, while pointing out the potentials in the art of engineers, aesthetics, the fusion with decorative arts and the need for social reform. He soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism , yet even for him, the Cubists had gone too far. The first Salon d'Autumne exhibition opened 31 October 1903 at

12848-490: The drawings use verbal puns (sometimes spanning multiple languages), visual puns , or both. Such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his later work. Owing to his eldest brother Jacques' membership in

12994-558: The early 20th century. It began in Zürich , Switzerland, in 1916, and spread to Berlin shortly thereafter. To quote Dona Budd's The Language of Art Knowledge , Dada was born out of negative reaction to the horrors of World War I . This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality, and intuition. The origin of

13140-423: The exhibition of 1907, held from 1 to 22 October, hung a painting by Georges Braque entitled Rochers rouges (no. 195 of the catalogue). Though this painting remains difficult to identify, it may be La Ciotat ( The Cove ). Jean Metzinger exhibited two landscapes (no. 1270 and 1271), also difficult to identify. At this 1907 salon the drawings of Auguste Rodin were featured. There were also retrospectives of

13286-451: The exhibition of 1908 at the Grand Palais des Champs-Élysées Matisse exhibited 30 works. At the 1909 exhibition (1 October through 8 November), Henri le Fauconnier exhibited a proto-Cubist portrait of the French writer, novelist and poet Pierre Jean Jouve , drawing the attention of Albert Gleizes who had been working in a similar geometric style. Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and Fernand Léger . At

13432-479: The exhibition of 1910, held from 1 October to 8 November at the Grand Palais des Champs-Élysées, Paris, Jean Metzinger introduced an extreme form of what would soon be labeled 'Cubism', not just to the general public for the first time, but to other artists that had no contact with Picasso or Braque. Though others were already working in a proto-Cubist vein with complex Cézannian geometries and unconventional perspectives, Metzinger's Nu à la cheminée (Nude) represented

13578-632: The exhibition. Following this salon Metzinger wrote the article Notes sur la peinture , in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time what would become known as the characteristics of Cubism : notably the notions of simultaneity, mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over

13724-538: The existence of this theme cluster throughout modernism, starting with Rodin's controversial Monument to Balzac , and culminating in a Duchampian vision of a techno-universe in which one and all can find themselves welcomed. British English British English (abbreviations: BrE , en-GB , and BE ) is the set of varieties of the English language native to the United Kingdom of Great Britain and Northern Ireland . More narrowly, it can refer specifically to

13870-593: The eye. Instead, he wanted to use art to serve the mind . Duchamp was born at Blainville-Crevon in Normandy, France, to Eugène Duchamp and Lucie Duchamp (formerly Lucie Nicolle) and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together. Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp

14016-437: The face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention. One of the paintings singled out for attack was Matisse's Woman with a Hat . This work's purchase by Gertrude and Leo Stein had a very positive effect on Matisse, who had been demoralized from the bad reception of his work. Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté , had already been exhibited at

14162-538: The first exhibition of Cubism in Spain. Duchamp later submitted the painting to the 1913 " Armory Show " in New York City. In addition to displaying works of American artists, this show was the first major exhibition of modern trends coming out of Paris, encompassing experimental styles of the European avant-garde , including Fauvism, Cubism, and Futurism . American show-goers, accustomed to realistic art, were scandalized, and

14308-519: The flames dancing in a fireplace." After World War I started in August 1914, with his brothers and many friends in military service and himself exempted (due to a heart murmur), Duchamp felt uncomfortable in Paris. Meanwhile, Nude Descending a Staircase No. 2 had scandalized Americans at the Armory Show , and helped secure the sale of all four of his paintings in the exhibition. Thus, being able to finance

14454-455: The greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two rooms remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of

14600-408: The headline of the journal Le Radical (12 May 1910). This scandal, in addition to the non-French status of the authors in a time of growing nationalism, aroused the old polemic of exhibiting low-cost production objects, mass-produced items, simply designed furniture and interior decoration, in the context of a salon dedicated to art. Industrial art had never before been so controversial. The exhibition

14746-430: The honorary committee. For Frantz Jourdain , public exhibitions served an important social function by providing a forum for unknown, innovative, emerging ( éminents ) artists, and for providing a basis for the general public's understanding of the new art. This was the idea behind Jourdain's dream of opening a new "Salon des Refusés" in the late 1890s, and realized in the opening the Salon d'Automne in 1903. Providing

14892-453: The idea of two different morphemes, one that causes the double negation, and one that is used for the point or the verb. Standard English in the United Kingdom, as in other English-speaking nations, is widely enforced in schools and by social norms for formal contexts but not by any singular authority; for instance, there is no institution equivalent to the Académie française with French or

15038-503: The influence such would have on the art that would follow; the Fauves ( André Derain , Henri Matisse ); followed by the proto-Cubists ( Georges Braque , Jean Metzinger , Albert Gleizes , Henri Le Fauconnier , Fernand Léger and Robert Delaunay ); the Cubists , the Orphists , and Futurists . In his defense of artistic liberty, Jourdain attacked not individuals, but institutions, such as

15184-405: The last of his Cubist-like paintings. He started The Bride Stripped Bare by Her Bachelors, Even image, and began making plans for The Large Glass – scribbling short notes to himself, sometimes with hurried sketches. It would be more than ten years before this piece was completed. Not much else is known about the two-month stay in Munich except that the friend he visited was intent on showing him

15330-511: The last southern Midlands accent to use the broad "a" in words like bath or grass (i.e. barth or grarss ). Conversely crass or plastic use a slender "a". A few miles northwest in Leicestershire the slender "a" becomes more widespread generally. In the town of Corby , five miles (8 km) north, one can find Corbyite which, unlike the Kettering accent, is largely influenced by

15476-457: The later Norman occupation led to the grafting onto that Germanic core of a more elaborate layer of words from the Romance branch of the European languages. This Norman influence entered English largely through the courts and government. Thus, English developed into a "borrowing" language of great flexibility and with a huge vocabulary . Dialects and accents vary amongst the four countries of

15622-432: The laws believed to govern matter were created solely by the minds that "understood" them and that no theory could be considered "true". "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincaré wrote in 1902. Reflecting the influence of Poincaré's writings, Duchamp tolerated any interpretation of his art by regarding it as

15768-452: The mass internal migration to Northamptonshire in the 1940s and given its position between several major accent regions, it has become a source of various accent developments. In Northampton the older accent has been influenced by overspill Londoners. There is an accent known locally as the Kettering accent, which is a transitional accent between the East Midlands and East Anglian . It is

15914-466: The mechanism incorporated into the Large Glass on which he began work in New York the following year. Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of the fragmentation and synthesis of

16060-458: The modern period, but due to their remoteness from the Germanic languages , influence on English was notably limited . However, the degree of influence remains debated, and it has recently been argued that its grammatical influence accounts for the substantial innovations noted between English and the other West Germanic languages. Initially, Old English was a diverse group of dialects, reflecting

16206-673: The most part known, even the most innovative who a few months before exhibited at the Berthe Weill Gallery. However, a few critics reacted violently, both in the daily press aimed at a wide audience; and in the specialized press, some of whom were active advocates of symbolism, and vehemently detested the rise of the new generation. The exhibition of 1906 was held from 6 October to 15 November. Jean Metzinger exhibited his Fauvist/ Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of

16352-506: The name Dada is unclear; some believe that it is a nonsense word. Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco 's frequent use of the words da, da, meaning yes, yes in the Romanian language . Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to "dada",

16498-419: The next eight years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist. He learned academic drawing from

16644-459: The offer, preferring to continue his work on The Large Glass . Duchamp created the Société Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s. By this time Walter Pach , one of the coordinators of

16790-519: The prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne , and the following year in the Salon des Indépendants . Fauves and Paul Cézanne 's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire —who was eventually to become a friend—criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"). Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at

16936-506: The prestigious Grand Palais the following year. The success of the Salon d'Automne was not, however, due to such controversy. Success was due to the tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War . Each successive exhibition denoted a significant phase in the development of modern art: Beginning with retrospectives of Gauguin, Cézanne and others;

17082-619: The public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines. Metzinger, Henri Le Fauconnier and Fernand Léger exhibited coincidentally in Room VIII. This was the moment in which the Montparnasse group quickly grew to include Roger de La Fresnaye , Alexander Archipenko and Joseph Csaky . The three Duchamp brothers, Marcel Duchamp , Jacques Villon and Raymond Duchamp-Villon , and another artist known as Picabia took part in

17228-486: The repetitive, frenetic machine; he then discerns a larger constellation of themes by insinuating that autoeroticsm – and with the machine as omnipresent partner and practitioner – opens out into a subversive pan-sexuality as expressed elsewhere in Duchamp's work and career, in that a trance-inducing pleasure becomes the operative principle as opposed to the dictates of the traditional male-female coupling; and he as well documents

17374-564: The showpiece of developments and innovations in 20th-century painting , drawing , sculpture , engraving , architecture and decorative arts . During the Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind the new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne , Henri Matisse , Paul Gauguin , Georges Rouault , André Derain , Albert Marquet , Jean Metzinger , Albert Gleizes and Marcel Duchamp have been shown. In addition to

17520-531: The sights and the nightlife, and that he was influenced by the works of the sixteenth century German painter Lucas Cranach the Elder in Munich's famed Alte Pinakothek , known for its Old Master paintings. Duchamp recalled that he took the short walk to visit this museum daily. Duchamp scholars have long recognized in Cranach the subdued ochre and brown color range Duchamp later employed. The same year, Duchamp also attended

17666-401: The spoken language. Globally, countries that are former British colonies or members of the Commonwealth tend to follow British English, as is the case for English used by European Union institutions. In China, both British English and American English are taught. The UK government actively teaches and promotes English around the world and operates in over 200 countries . English is

17812-407: The spring. The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs (from 1904), drawings, engravings, applied arts, and the clarity of its layout, more or less per school. Foreign artists are particularly well represented. The Salon d'Automne also boasts the presence of a politician and patron of the arts, Olivier Sainsère as a member of

17958-587: The theft of work tools worth £500 from a van at the Sprucefield park and ride car park in Lisburn. A football team can be treated likewise: Arsenal have lost just one of 20 home Premier League matches against Manchester City. This tendency can be observed in texts produced already in the 19th century. For example, Jane Austen , a British author, writes in Chapter 4 of Pride and Prejudice , published in 1813: All

18104-474: 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. He has had an immense impact on 20th- and 21st-century art, and 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 (such as Henri Matisse) as " retinal ", intended only to please

18250-448: The time, he was intrigued with the concept of depicting the fourth dimension in art . His painting Sad Young Man on a Train embodies this concern: First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism . It

18396-403: The traditional accent of Newcastle upon Tyne , 'out' will sound as 'oot', and in parts of Scotland and North-West England, 'my' will be pronounced as 'me'. Long vowels /iː/ and /uː/ are diphthongised to [ɪi] and [ʊu] respectively (or, more technically, [ʏʉ], with a raised tongue), so that ee and oo in feed and food are pronounced with a movement. The diphthong [oʊ] is also pronounced with

18542-440: The trip, Duchamp decided to emigrate to the United States in 1915. To his surprise, he found he was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and artist Man Ray . Duchamp's circle included art patrons Louise and Walter Conrad Arensberg , actress and artist Beatrice Wood and Francis Picabia , as well as other avant-garde figures. Though he spoke little English, in

18688-733: The varied origins of the Anglo-Saxon kingdoms of England. One of these dialects, Late West Saxon , eventually came to dominate. The original Old English was then influenced by two waves of invasion: the first was by speakers of the Scandinavian branch of the Germanic family, who settled in parts of Britain in the eighth and ninth centuries; the second was the Normans in the 11th century, who spoke Old Norman and ultimately developed an English variety of this called Anglo-Norman . These two invasions caused English to become "mixed" to some degree (though it

18834-526: The viewers saw first hand, and many for the first time, what had been done abroad, opened up a potential of what could be done in the field of decorative arts at home. Jourdain had successfully staged the German show to provoke French designers into improving the quality of their own work. The effects would be felt in Paris, first with the 1912 exhibition of French decorative arts at the Pavillon de Marsan , then again at

18980-626: The wild beasts"), contrasting the "orgy of pure tones" with a Renaissance -style sculpture that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas , a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in

19126-402: The word 'British' and as a result can be used and interpreted in two ways, more broadly or more narrowly, within a range of blurring and ambiguity". Variations exist in formal (both written and spoken) English in the United Kingdom. For example, the adjective wee is almost exclusively used in parts of Scotland, north-east England, Northern Ireland, Ireland, and occasionally Yorkshire , whereas

19272-406: The work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. He published notes for the piece, The Green Box , intended to complement the visual experience. They reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture"

19418-764: The works of Berthe Morisot (174 works) and Jean-Baptiste Carpeaux (149 works), and a Paul Cézanne retrospective exhibition which included 56 works as a tribute to the painter who died in 1906. Apollinaire referred to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of Jean Puy ). Robert Delaunay showed one work, Bela Czobel showed one work André Lhote showed three, Patrick Henry Bruce three, Jean Crotti one, Fernand Léger five, Duchamp-Villon two, Raoul Dufy three, André Derain exhibited three paintings and Matisse seven works. For

19564-560: The world are good and agreeable in your eyes. However, in Chapter 16, the grammatical number is used. The world is blinded by his fortune and consequence. Some dialects of British English use negative concords, also known as double negatives . Rather than changing a word or using a positive, words like nobody, not, nothing, and never would be used in the same sentence. While this does not occur in Standard English, it does occur in non-standard dialects. The double negation follows

19710-500: Was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase . In his 1911 Portrait of Chess Players ( Portrait de joueurs d'échecs ) there

19856-484: Was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants . In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas , Comoedia , Excelsior , Action , L'Œuvre , Cri de Paris . Apollinaire wrote

20002-399: Was formally declared "Unfinished" in 1923. Returning from its first public exhibition in a shipping crate, the glass suffered a large crack. Duchamp repaired it, but left the smaller cracks in the glass intact, accepting the chance element as a part of the piece. Joseph Nechvatal has cast a considerable light on The Large Glass by noting the autoerotic implications of both bachelorhood and

20148-462: Was later asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon , whose approach to art was not outwardly anti-academic, but quietly individual. He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time, Duchamp drew and sold cartoons which reflected his ribald humor. Many of

20294-462: Was lost. The critics would begin by saying: there is no need to devote much space to the Cubists, who are utterly without importance and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon. (Gleizes, 1925) Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to

20440-434: Was met with wide critical acclaim. Jourdain, familiar with the multifaceted world of art, predicted accurately the triumph would arouse animosity: from artist who resented the accent on Gauguin and Cézanne (both perceived as retrogressive), from academics who resisted attention given to the decorative arts, and soon, from the Cubists, who suspected the jurors favoring of Fauvism at their expense. Even Paul Signac , president of

20586-422: Was never a truly mixed language in the strictest sense of the word; mixed languages arise from the cohabitation of speakers of different languages, who develop a hybrid tongue for basic communication). The more idiomatic, concrete and descriptive English is, the more it is from Anglo-Saxon origins. The more intellectual and abstract English is, the more it contains Latin and French influences, e.g. swine (like

20732-404: Was no jury at the Salon des Indépendants and Gleizes was in no position to reject the painting. The controversy, according to art historian Peter Brooke, was not whether the work should be hung or not, but whether it should be hung with the Cubist group. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It

20878-537: Was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that." Yet Duchamp did appear in the illustrations to Du "Cubisme" , he participated in the La Maison Cubiste (Cubist House) , organized by the designer André Mare for the Salon d'Automne of 1912 (a few months after the Indépendants); he signed the Section d'Or invitation and participated in

21024-408: Was reviewed in all the major journals. Louis Vauxcelles added to the crisis in a Gil Blas article. The exhibition was an enormous success in that it served to catalyze anew designers, decorators, artists and architects in France, who prior to the 1910 Salon d'Automne had been lagging behind in the design sector. It also catalyzed public opinion, formerly interested solely in paintings. The fact that

21170-628: Was the brother of: As a child, with his two elder brothers already away from home at school in Rouen , Duchamp was closer to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille , in Rouen. Two other students in his class also became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont . For

21316-452: Was to choose an object that wouldn't attract me, either by its beauty or by its ugliness. To find a point of indifference in my looking at it, you see. Bottle Rack (1914), a bottle-drying rack signed by Duchamp, is considered to be the first "pure" readymade. In Advance of the Broken Arm (1915), a snow shovel, also called Prelude to a Broken Arm , followed soon after. His Fountain ,

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