Aziz Art May 2019

AzizArt
May 2019
Burhan Doğançay
Marcel Duchamp

1. Burhan C. Doğançay
10. Henri-Robert-Marcel
Duchamp
21. Competition
Director: Aziz Anzabi
Editor : Nafiseh Yaghoubi
Translator : Asra
Yaghoubi
Research: Zohreh Nazari
Iranian art department:
Mohadese Yaghoubi
http://www.aziz-anzabi.com

Burhan C. Doğançay
(11 September 1929 – 16 January
2013) was a Turkish-American
artist. Doğançay is best known for
tracking walls in various cities
across the world for half a century,
integrating them in his artistic
work.
Born in Istanbul, Turkey, Burhan
Dogançay obtained his artistic
training from his father Adil
Doğançay, and Arif Kaptan, both
well-known Turkish painters.
In his youth, Dogançay played on
the Gençlerbirliği soccer team.In
1950, he received a law degree
from the University of Ankara.
While enrolled at the University of
Paris between 1950–1955 from
where he obtained a doctorate
degree in economics, he attended
art
courses at the Académie de la
Grande Chaumière. During this
period he continued to paint
regularly and to show his works in
several group exhibitions. Soon
after his return to Turkey, he
participated in many exhibitions,
including joint exhibitions with his
father at the Ankara Art Lovers
Club.
Following a brief career with the
government (diplomatic service)
which brought him to New York City
in 1962, Dogançay decided in 1964
to devote himself entirely to art
and make New York his permanent
home. He starts searching the
streets of New York for inspiration
and raw materials for his collage
and assemblages. Despite working
hard, it seems impossible to make a
reasonable living. Thomas M.
Messer, director of the Solomon R.
Guggenheim Museum for 27 years,
significantly influences Dogançay's
career, urging him to stay in New
York and face the city's challenges.
In the 1970s, he starts traveling for
his "Walls of the World"
photographic documentary project
and meets his future wife, Angela,
at the Hungarian Ball at the Hotel
Pierre, New York. In 2006, a
painting by Dogancay titled "Trojan
Horse" was gifted by the Turkish
government to the OECD in Paris.
Dogançay worked and divided the
last eight years of his life between
his studios in New York and
Turgutreis, Turkey, until his death at
the age of 83 in January 2013.
1

Artistic contribution
Since the early 1960s, Dogançay
had been fascinated by urban
walls and chose them as his
subject. He saw them as the
barometer of our society and a
testament to the passage of time,
reflecting the emotions of the
city, frequently withstanding the
assault of the elements and the
markings left by people. It began,
Dogancay said, when something
caught his eye during a walk stroll
down 86th street in New York:
It was the most beautiful abstract
painting I had ever seen. There
were the remains of a poster,
and a texture to the wall with
little bits of shadows coming
from within its surface. The color
was mostly orange, with a little
blue and green and brown. Then,
there were the marks made by
rain and mud
As a city traveler, for half a century
he has been mapping walls in
various cities worldwide. In this
context, urban walls serve as
documents of the respective
climate and zeitgeist, as ciphers of
social, political and economic
change.Part of the intrinsic spirit of
his work is to suggest that nothing
is ever what it seems. Dogançay's
art is wall art, and thus his sources
of subjects are real. Therefore, he
can hardly be labeled as an abstract
artist, and yet at first acquaintance
much of his work appears to be
abstract. In Dogancay's approach,
the serial nature of investigation
and the elevation of characteristic
elements to form ornamental
patterns are essential. Within this,
he formulates a consistent
continuation of decollagist
strategies – effectively the recontextualised
deconstruction of
positions related to the nouveau
réalistes. Dogançay may have
started out as a simple observer
and recorder of walls, but he fast
made a transition to points where
he could express a range of ideas,
feelings, and emotions in his work.
His vision has continued to
broaden, driven both by content
and technique.

Walls of the World
In the mid-1970s, Dogançay
embarked on what he saw then
as his secondary project:
photographing urban walls all
over the globe.
These photographs – which
Dogançay called "Walls of the
World" – are an archive of our
time and the seeds for his
paintings, which in and by
themselves are also documentary
of the era in which we live. The
focus of his "encyclopedic"
approach was exclusively directed
towards the structures, signs,
symbols and images humans
leave on walls. This was not due
to
lack of originality, but because it is
here where he found the entire
range of the human condition in a
single motif, without any cultural,
racial, political, geographical, or
stylistic, limitations. Dogançay
himself got to the heart of his
exploration by stating:
Walls are the mirror of society
Dogancay's consequential
execution,
his radical thematic self-limitation
and obsession with capturing
what interested him most is
comparable
to other "documentarians" like
August Sander (portraits) and Karl
Blossfeldt (plants). His pictures are
not snapshots but elaborate
segmentations of surfaces, subtle
studies of materials, colors,
structures and light, sometimes
resembling monochromies in their
radical reductionism. Over time,
this project gained importance as
well as content and after four
decades now encompasses about
30'000 images from over 100
countries across five continents. In
1982, images from the archive were
exhibited as a one-man exhibition
at the Centre Georges Pompidou,
Paris, that later traveled to the
Palais des Beaux-Arts, Brussels, and
the Musée d'Art Contemporain,
Montreal.
Painting and collage
With posters and objects gathered
from walls forming the main
ingredient for his work, it is only
logical that Dogançay's preferred
medium has been predominantly
'collage' and to some extent
'fumage'. Dogançay re-creates the
look of urban billboards,

graffiti-covered wall surfaces, as
well as broken or neglected
entrances such as windows and
doors in different series.
The only masters with whom he
compares himself are those from
the last heroic period of art that
he experienced and in which he
was an active participant, notably
Robert Rauschenberg and Jasper
Johns. Dogancay, however, has
always preferred to reproduce
fragments of wall surface in their
mutual relations just as he found
them, and with minimal
adjustment of color or position,
rather than up-end them or
combine them casually in the
Rauschenberg manner.
In large measure his practice has
been one of simulation in the
spirit of record-keeping, carried
out with the collector's rather
than the scavenger's eye.
In many cases,
his paintings evoke the decay and
destruction of the city, the
alienated feeling that urban
life is in ruins and out of control,
and that we cannot put the pieces
together again.Pictorial fragments
are often detached from their
original context and rearranged in
new, sometimes inscrutable
combinations. So the
diversifications of his complex and
uniformly experimental painterly
oeuvre will always range from
photographic realism to
abstraction, from pop art to
material image/montage/collage. In
the 1970s and 1980s he gained
fame with his interpretation of
urban walls in his signature ribbons
series, which in contrast to his
collaged billboard works such as
the Cones Series, Doors Series or
Alexander's Walls consist of clean
paper strips and their
calligraphically-shaped shadows.
These brightly intense curvilinear
forms seem to burst forth from flat,
solid-colored backgrounds. The
graceful ribbonlike shapes take on a
three-dimensional quality,
especially as suggested by the
implied shadows.This series later
gave rise to alucobond–aluminum
composite shadow sculptures and
Aubusson .

Tamarind lithography
In 1969, Henry Geldzahler, then
head of 20th Century Art
Department at the Metropolitan
Museum of Art secured for
Dogancay a fellowship at the
Tamarind Lithography Workshop in
Los Angeles. The workshop,
founded by June Wayne,
was a ten-year project,
attended by approximately
seventy artists – among them
were Ed Ruscha, Jim Dine, Josef
Albers and Louise Nevelson –
between 1960 and 1970,
conceived to promote lithography
in the USA. Dogancay created
sixteen lithographs, including a
suite of eleven impressions titled
"Walls V". These marked a turning
point in his career as they
essentially are a dialogue with
flatness.At the workshop, in part
because of the exigencies of the
medium, he was obliged to
relinquish his casual approach,
inspired by his raw subject matter,
in favor of organizing his work
graphically. This imposed discipline
helped him to create arresting new
effects that led to more defined flat
areas and brighter colors within the
images. This reassessment enabled
Dogancay to resolve any conflict he
might have had between subject
and method, and was a profound
influence on his future evolution as
an artist. A canon of high-colored
tonality and visual impact has
remained for him the essence of
urban contradiction that he has
wanted the viewers of his works to
share.
Aubusson tapestry
In Paris, Dogancay is introduced to
Jean-François Picaud, owner of
L'Atelier Raymond Picaud in
Aubusson, France. Fascinated by
Dogançay's Ribbons series as ideal
tapestry subjects, he instantly
invites Dogançay to submit several
tapestry cartoons. In the words of
Jean-François Picaud "the art of
tapestry has found its leader for the
21st century in Burhan
Dogançay".The first three Dogançay
tapestries woven in 1984 are an
immediate critical success.

Art market
In November 2009, one of
Dogançay's paintings,
Mavi Senfoni (Symphony in Blue),
was sold in auction to Murat Ülker
for US$1,700,000. This collage
relates to an impressive cycle of
works within the
Dogançay oeuvre, called Cones
series, that evolved as a
deliberative of his iconic
Breakthrough and Ribbon series
and as an exhilarant exploration
of the urban space. Together with
its two sister works, Magnificent
Era
(collection of Istanbul Modern)
and Mimar Sinan (private
collection), Symphony in Blue is
one of the largest and most
expressive works in which
Dogançay enters into a dialogue
with the history of Turkey. It was
executed in 1987 for the first
International Istanbul
Biennial.Istanbul Modern
commissioned composer Kamran
Ince to set Mavi Senfoni to music.
The solo piano play was premiered
by Huseyin Sermet on 26 June
2012.In May 2015, Dogancay's
painting Mavi Güzel (Blue Beauty)
from the Ribbon Series sold for TL
1,050,000 at Antik AS in Istanbul
Doğançay Museum
Being exclusively dedicated to the
work of Burhan Doğançay, and to a
minor extent also to the art of his
father, Adil, the Doğançay Museum
provides a retrospective survey of
the artist's various creative phases
from his student days up until the
present, with about 100 works on
display. Established in 2004, the
Doğançay Museum in Istanbul's
Beyoğlu district is being considered
to be Turkey's first contemporary
art museum.
Doğançay's works are in the
collections of many museums
around the world including New
York's MoMA, Metropolitan
Museum of Art, The Solomon R.
Guggenheim Museum as well as
National Gallery of Art in
Washington, MUMOK in Vienna,
Musée National d'Art Moderne in
Paris, Istanbul Modern in Istanbul,
The Israel Museum in Jerusalem
and The State Russian Museum in
St. Petersburg.

Burhan C. Doğançay

Henri-Robert-Marcel Duchamp
10

Henri-Robert-Marcel Duchamp
28 July 1887 – 2 October 1968 was
a French-American painter,
sculptor, chess player, and writer
whose work is associated with
Cubism, Dada, and conceptual
art.He was careful about his
use of the term Dada and was
not directly associated with Dada
groups. Duchamp is commonly
regarded, along with Pablo Picasso
and Henri Matisse, as one of 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.Duchamp has had an
immense impact on twentiethcentury
and twenty first-century
art, and he had a seminal
influence on the development of
conceptual art. By World War I, he
had rejected the work of many of
his fellow artists (such as Henri
Matisse) as "retinal" art, intended
only to please the eye. Instead,
Duchamp wanted to use art to
serve the mind.
Early life and education
Marcel Duchamp was born at
Blainville-Crevon in Normandy,
France, 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 was the
brother of:Jacques Villon (1875–
1963), painter, printmaker
Raymond Duchamp-Villon (1876–
1918), sculptor
Suzanne Duchamp-Crotti (1889–
1963), painter.
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 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 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.
Early work
Duchamp's early art works align
with Post-Impressionist styles. He
experimented with classical
techniques and subjects. When he
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 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 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 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 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 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 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 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
the mechanism incorporated into
the Large Glass on which he began
work in New York the following
year.
Nude Descending a Staircase, No. 2
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 both the fragmentation and
synthesis of the Cubists, and 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 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 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 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; 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 the Nude was at the center of
much of the controversy.
Leaving "retinal art" behind
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 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 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 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 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 the concept of
art". Duchamp's notes from the trip
avoid logic and sense, and have a
surrealistic, mythical connotation.

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 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 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 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 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 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 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
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 the offer, preferring to
continue his work on The Large
Glass.
Société Anonyme
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 Martins was his mistress.
coordinators of the 1913 Armory In 1954, he and Alexina "Teeny"
Show, sought
Sattler married. They remained
Duchamp's advice on modern art. together until his death.
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.
Personal life
Throughout his adult life,
Duchamp was a passionate
smoker of Habana cigars.
Duchamp became a United States
citizen in 1955.
In June 1927, Duchamp married
Lydie Sarazin-Lavassor; however,
they divorced six months later. It
was rumored that Duchamp had
chosen a marriage of convenience,
because Sarazin-Lavassor was the
daughter of a wealthy automobile
manufacturer. Early in January
1928, Duchamp said that he could
no longer bear the responsibility
and confinement of marriage, and
they were soon divorced.
Between 1946 and 1951 Maria
Death and burial
Duchamp died suddenly and
peacefully in the early morning of 2
October 1968 at his home in
Neuilly-sur-Seine, France. After an
evening dining at home with his
friends Man Ray and Robert Lebel,
Duchamp retired at 1:05 A.M.,
collapsed in his studio, and died of
heart failure.
Duchamp was an atheist.[65] He is
buried in the Rouen Cemetery, in
Rouen, France, with the epitaph,
"D'ailleurs, c'est toujours les autres
qui meurent" ("Besides, it's always
the others who die").

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Inside of me2
by AzizAnzabi
http://www.aziz-anzabi.com