de ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise)

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Work by Marcel Duchamp

de ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise) (Valise or field in a suitcase) is a collection of reproductions of works by Marcel Duchamp conceived by the artist himself. A murals in itself, the primary Valise was made in 1936 and offered in 1941.

Launched in 1936 and bought from 1941 by subscription in the USA, the box-in-a-suitcase relies on the thought of the condensed universe of the boîte surréaliste and a cupboard of curiosities as a conveyable museum.

The work consists of a brown leather-based carrying case[1] (the prospectus describes it as a “leather-based pull-out field”), 40 x 37.5 x 8.2 cm, containing 69 reproductions of the main works by Duchamp, together with many pictures, lithographs and miniature replicas of ready-mades like Fountain, and reduced-sizes fashions on Rhodoïd (cellulose acetate) akin to The Bride Stripped Naked by Her Bachelors, Even.

From 1941 to 1966, 312[2] bins had been produced for subscribers. The primary 22, titled La boîte-en-valise or Valise, had been made by the artist himself (as luxurious editions) and comprise an unique work. All are signed “De ou par Marcel Duchamp ou Rrose Sélavy” (“From or by Marcel Duchamp or Rrose Sélavy”).

The 1914 field[edit]

Since 1913, Duchamp had imagined a field edited in a number of copies, containing reproductions of his works and his notes: the primary model is from 1914, which brings collectively facsimiles of the primary sketches and preparatory notes for The Bride Stripped Naked by Her Bachelors, Even, reproduced on 13 silver glass plates; there are Three copies,[3] 5 copies based on others,[4][5] one among which is on the Centre Georges Pompidou,[6][7] one other is within the assortment of the Philadelphia Museum of Artwork.[8] The container for the field was a business cardboard field for photographic plates.[3]

In an Interview with Pierre Cabanne, Duchamp explains:

For the “Field” of 1913-1914, it is completely different. I did not have the thought of a field as a lot as simply notes. I believed I might gather, in an album just like the Saint-Etienne catalogue, some calculations, some reflections, with out relating them. Generally they’re torn items of paper… I needed that album to go along with the “Glass” and to be consulted when seeing the “Glass” as a result of, as I see it, it should not be “checked out” within the aesthetic sense of the phrase. One should seek the advice of the ebook, and see the 2 collectively. The conjunction of the 2 issues totally removes the retinal facet that I do not like. It was very logical.

— Dialogues with Marcel Duchamp[9]

The 1914 field incorporates facsimile notes and three pictures of a bit of string mounted on canvas and a observe that led to the work: Three Customary Stoppages.[10][11] It additionally incorporates a single drawing of a bicycle owner using uphill titled Avoir l’appenti du soleil (To Have the Apprentice within the Solar).

One of many notes within the field makes an early reference to Duchamps final work: Étant donnés, “Etant donné que ….; si je suppose que je sois souffrant beacoup ….”[12]

The Inexperienced Field[edit]

In 1934, Duchamp made a brand new field that contained new preparatory notes for The Giant Glass (The Bride Stripped Naked by Her Bachelors, Even), a group of eight years of concepts, reflections, ideas; 93 paperwork in complete (written notes, drawings, pictures).[13] The Giant Glass had been badly broken upon its return from an exhibition on the Brooklyn museum of artwork in 1926 to its proprietor, Katherine Dreier, who lived in West Studying, Connecticut. Duchamp repaired the glass in 1936.[14]

Every of these was lithographed and printed on paper that was just like the paper he utilized in his preparations. Printed in an version of 320 (with 20 containing an unique work numbered I to XX; a collection known as the “luxurious version”), the ultimate work was nicknamed La Boîte verte (Inexperienced Field) and bears the inscription “The Bride Stripped Naked by Her Bachelors, Even” in punched-out caps. The writer is listed as Rrose Sélavy,[Notes 1] By means of André Breton, Duchamp defined in 1932 that he supposed to provide the notes a public studying.[15][Notes 2]

The Field in a Valise[edit]

In 1935 Duchamp wrote in a letter to Katherine Dreier: “I wish to make, someday, an album of roughly all of the issues I produced.”[16]

Between 1935 and 1941 Duchamp create a variety of bins known as The Field in a Valise or From or by Marcel Duchamp or Rrose Selavy, that contained three three-dimensional replicas of his works; Paris Air, Underwood and Fountain.[17] The work was launched in seven collection, A by means of G. The primary collection, A, is numbered 1/XX although XX/XX and is a deluxe version containing an unique murals, mounted within the lid of the field. It incorporates replicas of Duchamp’s works mounted in a wood body that slide out in two wings, steadied by brass clips. The case incorporates 69 reproductions. The color reproductions had been produced utilizing an already out of date method known as pochoir, the place a stencil was used to use color on a black-and-white replica, making each picture, in a method, an unique.[18][14] The works within the deluxe version include a plywood field, fitted inside a leather-covered suitcase. When the field is opened, the body is uncovered within the type of an “M” for “Marcel”.[14] Duchamp finally bored with creating the bins himself and employed assistants to assist of their building, together with Xenia Cage and Joseph Cornell.[14]

Collection F had been produced till 1966 and are in a crimson leather-based field.[14] Along with the usual 68 works within the earlier collection, the F collection incorporates 12 extra works, together with the Wedge of Chastity and Objet-dart.[14]The Giant Glass is reproduced on Rhodoïd (cellulose acetate).

The color reproductions created utilizing the pochoir method took roughly Eight weeks to make. They had been primarily based on intensive color notes taken by Duchamp, who travelled to go to every work and take notes. Prints comprise roughly 30 particular person colors.[19]

Across the similar time that Duchamp labored on the Field in a Valise, Walter Benjamin revealed The Work of Artwork within the Age of Mechanical Replica. Whereas Benjamin lamented the lack of the paintings’s aura, Duchamp seems to have embraced it.[14] Duchamp delighted in the truth that critic on the time nonetheless clung to the auratic notion of the singular artwork work and regarded the work a print version, not a murals in itself. Benjamin himself, alternatively, in 1937 in his diary famous “Noticed Duchamp this morning, similar café on the Boulevard St. Germain. Confirmed me his portray, Nude Descending a Staircase, in a lowered format, colored by hand, en-pochoir. Breathtakingly lovely.” The reproductions carry a stamp from a notary, who authenticated the facsimiles on the request of Duchamp.

It was a brand new type of expression for me. As a substitute of portray one thing the thought was to breed the work that I liked a lot in miniature. I did not know find out how to do it. I considered a ebook, however I did not like that concept. Then I considered the thought of the field during which all my works can be mounted like a small museum, a conveyable museum, so to talk, and right here it’s on this valise

The White Field[edit]

In 1966, Cordier & Ekstrom edited a brand new version, A l’inifintif (Within the infinitive) additionally known as The White Field, gathering new unpublished notes from the interval 1912 – 1920 in an version of 150. The field incorporates 79 facsimiles of notes from 1914 – 23 in a Plexiglas case of 33.Three x 29 x 3.Eight cm.[20]

The Fluxus group borrowed the thought of the Boite-en-valise ifor their Fluxkits.

Museum collections[edit]


  • Centre Georges Pompidou La boîte de 1914 1913 – 1914[6]
  • Philadelphia Museum of Artwork The Field of 1914[8]
  • Musee Maillol, Paris [4]
  • Artwork Institute of Chicago[4]
  • Jacques Villon as soon as owned a fifth copy, which is misplaced[4]


Tate The Bride Stripped Naked by her Bachelors Even (The Inexperienced Field) [21]

1935 – 1941[edit]

Collection A 1941[edit]

Collection F 1966[edit]


  • Bonk, Ecke (1989). Marcel Duchamp the field in a valise: de ou par Marcel Duchamp ou Rrose Selavy. New York, NY: Rizzoli. OCLC 993482738.

See additionally[edit]

  1. ^ Duchamp’s alter ego whose title is a pun on “Eros, c’est la vie” (Eros is life)
  2. ^ In This Quarter (Vol V, No1) of September first revealed notes by Duchamp two years earlier than the Inexperienced Field with a preface by André Breton who calls the notes calls the notes an “from a big, unpublished assortment […] supposed to accompany and clarify (as would possibly a great exhibition catalogue) the ‘verre’ (portray on clear glass) referred to as The Bride Stripped Naked By Her Personal Bachelors.


  1. ^ “ | Interactives | Exhibitions | 1999 | Museum as Muse | Duchamp”. Retrieved 2018-11-07.
  2. ^ 300 based on Centre Pompidou
  3. ^ a b Bloch, Susi (1974). “Marcel Duchamp’s Inexperienced Field”. Artwork Journal. 34 (1): 25–29. doi:10.2307/775863. JSTOR 775863.
  4. ^ a b c d Franklin, Paul B. (2016-06-01). The Artist and His Critic Stripped Naked: The Correspondence of Marcel Duchamp and Robert Lebel. Getty Publications. ISBN 9781606064436.
  5. ^ Kaduri, Yael (2016). The Oxford Handbook of Sound and Picture in Western Artwork. Oxford College Press. ISBN 9780199841547.
  6. ^ a b “La boîte de 1914 | Centre Pompidou”. Retrieved 2018-11-07.
  7. ^ “Réunion des Musées Nationaux-Grand Palais -“. Retrieved 2018-11-07.
  8. ^ a b Artwork, Philadelphia Museum of. “Philadelphia Museum of Artwork – Collections Object : The Field of 1914”. Retrieved 2018-11-07.
  9. ^ Cabanne, Pierre (2009). Dialogues With Marcel Duchamp. Cambridge, MA: Da Capo Press. ISBN 9780786749713.
  10. ^ “Marcel Duchamp. Three Customary Stoppages. Paris 1913-14 | MoMA”. Retrieved 2018-11-07.
  11. ^ “Information, TOUT-FAIT: The Marcel Duchamp Research On-line Journal”. Retrieved 2018-11-07.
  12. ^ Lyotard, Jean-François; Judovitz, Dalia (2010). Duchamp’s TRANS/formers (in French). Universitaire Pers Leuven. p. 100. ISBN 9789058677907.
  13. ^ Duchamp, Marcel (1934). La mariée mise à nu par ses célibataires même. OCLC 956687080.
  14. ^ a b c d e f g h Dartmouth (2012-05-02), Marcel Duchamp: The Field in a Valise, retrieved 2018-11-08
  15. ^ “Science meets Artwork: This Quarter and Jacob Bronowski”. 2014-10-27. Archived from the unique on 2014-10-27. Retrieved 2018-11-07.
  16. ^ Stahl, Joan (1990). “Overview of MARCEL DUCHAMP: THE BOX IN A VALISE”. Artwork Documentation: Journal of the Artwork Libraries Society of North America. 9 (3): 153. doi:10.1086/adx.9.3.27948252. JSTOR 27948252.
  17. ^ “Field in Valise”. Retrieved 2018-11-08.
  18. ^ “Afterthought: Ruminations on Duchamp and Walter Benjamin | Toutfait”. Retrieved 2018-11-08.
  19. ^ Bonk, Ecke (1989). Marcel Duchamp the field in a valise: de ou par Marcel Duchamp ou Rrose Selavy. New York, NY: Rizzoli. OCLC 993482738.
  20. ^
  21. ^ Tate. “The Bride Stripped Naked by her Bachelors Even (The Inexperienced Field)’, Marcel Duchamp, 1934 | Tate”. Tate. Retrieved 2018-11-07.
  22. ^ a b “Sammlung Marcel Duchamp”. (in German). Retrieved 2018-11-08.
  23. ^ “Marcel Duchamp, Boite (Field), 1941/1963”. MCA. Retrieved 2018-11-07.
  24. ^ “Marcel Duchamp. From or by Marcel Duchamp or Rrose Sélavy (The Field in a Valise) (de ou par Marcel Duchamp ou Rrose Sélavy (Boîte-en-valise). revealed 1966, reproductions produced 1935-40 and 1963-66 | MoMA”. Retrieved 2018-11-07.
  25. ^ “Guggenheim”. Retrieved 2018-11-08.
  26. ^ “Kemper Artwork Museum acquires Marcel Duchamp ‘Boîte-en-valise’ | The Supply | Washington College in St. Louis”. The Supply. 2015-09-30. Retrieved 2018-11-08.
  27. ^ “From or By Marcel Duchamp or Rrose Sélavy (The Field in a Valise) – On-line Assortment – Akron Artwork Museum”. Retrieved 2018-11-08.
  28. ^ nationalgalleries (2013-03-01), Duchamp’s ‘La Boîte-en-Valise’ [Box in a Suitcase] set up video, retrieved 2018-11-08

Exterior hyperlinks[edit]

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