Affectueusement, Marcel: Ten Letters from Marcel Duchamp to Suzanne Duchamp

and Jean Crotti

Francis M. Naumann; Marcel Duchamp

Archives of American Art Journal, Vol. 22, No. 4. (1982), pp. 2-19.

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 Ten Letters from Marcel Duchamp to
Suzanne Duchamp and Jean Crotti

Francis M. Naumann

M a r c e l Duchamp disliked writing letters. H e Among the six children in the Duchamp family, Marcel
claimed the very activity bored him to death and ad- (1887-1968) was closest in age and emotional attachment to
dressed his correspondents only when he felt it was neces- his sister Suzanne (18819-15163). Inseparable companions
sary. Nevertheless, extant letters from his hand have proven from childhood, they continued their mutually supportive
to be invaluable documents, for they provide historians with relationship without interruption throughout their lives.
the facts and details necessary for the compilation of a com- From early school days their interests paralleled one another.
plete and accurate chronology of Duchamp's activities. And When, in 1904, Marcel decided to join his two older artist-
his letters to close friends and relatives can be of even greater brothers, Jacques Villon and Raymond Duchamp-Villon, in
significance, for they often contain candid and personal re- Paris and enrolled for the study of art at the AcadCmie Ju-
marks that can be employed by biographers in their attempts lien, the next year his sister followed suit and enrolled for a
to reveal the enigmatic personality and highly complex similar course of study at the ~ c o l des
e Beaux Arts in Rouen.
thinking of this important artist.1 For the next several years, both Suzanne's and Marcel's
It is for these reasons that the recent discovery of Du- paintings evolved through successive phases of the modern
champ's correspondence with his sister Suzanne and her school-from Fauvism through Cubism-with Marcel al-
husband, Jean Crotti, was of such significance: In these let- ways a few steps ahead of his sister. Together, in 1909-1910
ters, particularly those dating from the late Teens and early they participated in the activities of the SociCtC Normande
Twenties, Duchamp not only provides a detailed account of de Peinture Moderne, an artists' group based in Rouen.4 By
his activities but also discusses some of the most important the spring of 1912, when Suzanne (fig. I) prepared to send
works of art he produced in these years. Among other things, several of her paintings for exhibition to the Salon des IndC-
he writes of the selection and naming of several Readymades pendants, she avidly sought the advice of her older, more
and sends occasional reports on the progress and construc- experienced brother. While the compartmentalized color and
tion of his most important work of this period, The Bride flatly rendered surfaces of her paintings from this period are
Stripped Bare by Her Bachelors, Even, or, as it is more com- stylistically dependent upon certain phases of Post-Impres-
monly known by its informal title, the Large Glass. It is with sionism, by this time Marcel had already reached a highly
great pleasure that a selection of ten letters from this collec- intricate and sophisticated level of Analytic Cubism. T o this
tion is presented here, fully translated, accompanied by a same exhibition, for example, he submitted the Nude De-
running commentary, notes, and supportive illustrations.3 scending a Staircase, 1912 (Philadelphia Museum of Art),
though objections from colleagues and his brothers forced
Articles by FRANCIS M.NAUMANN on Dada and on American art him to withdraw the entry. Thus the critique he supplies of
have appeared in Artforum, Arts Magnzine, and other publications. his sister's paintings-preserved in the following letter-is
Mr. Naumann, an instructor in the department of art history, the gentle criticism of an older brother, who by this time was
Parsons School of Design, New York, is currently preparing a beginning to question even the most advanced artistic ex-
book on New York Dada. pressions of his day.
Fig. 9. Jean Crotti, Portrait of Marcel Duchamp (Sculpture Made to Measure), 1915(original, life size, now lost).
Photographer unknown. Jean Crotti Papers, Archives of American Art.
Fig. I.Suzanne Duchamp in nurse's uniform, Paris, ca. 1914- Fig. 2. Suzanne Duchamp, Intimiti, 191I.Oil on canvas,
1915.Photographer unknown. Collection Mme. Marcel approx. 21% by 255h in. Private collection, Paris.
Duchamp, Paris.

[N.B.Unless otherwise noted, information provided in brackets was [fig. 21, there is composition and drawing. . . these,
added by the author. The dates for a11 undated letters were established
on the basis of internal evidence. Words or phrases reproduced in italics I think, are your qualities and you will inevitably
preserve Duchamp's original wording. Underlined portions correspond develop them.6
to the words or phrases underlined by Duchamp in the original letters.]
There is no plastic difference between drawing on
paper and painting on canvas. The latter consists of
Neuilly. Friday [c. February-March, 19121 drawing made with colors which are the different
tones of your harmony in black and white (even
My dear Suzanne, though they are colors). Fundamental, this harmony.
I just now received your three canvases in good Do not take everything that I say as advice.
condition:^ Permit me not to say that I like them, nor This is only what occurred to me in front of your
that I find them interesting (all locutions as useless as canvases.
they are meaningless). I see your drawing, [like] that Charly told me that you were coming for the
of your earlier paintings, is more hidden under the opening..
harmonies of colors. You seem to be interested in the I will ask for your invitations at the office and will
color harmonies for their own sake, for the send them to you in Rouen.
relationship (in your portrait, for example) between I think that you can ask 200 F for the 2 big ones
the background blue and the stripes of the blouse, and and I w F for the still life. Answer me by return mail.
not for creating atmosphere: in that respect I agree So I can also write the prices on your sheet.
with you. I will take them to the Independants on Sunday
But I think that the relation of color to color, since morning.
it's only optical, expresses the artist less than drawing Affect. to Charly,
(see the Impressionists), and as it so happens you to all,
draw, unconsciously perhaps, before anything else. to you,
In your "portrait" of Magdeline and Yvonne Marcel
The emphasis Duchamp places on the importance of line after hi arrival in the United States in the summer of 1915.
over the optical properties of color is partly a reflection of the In New York Duchamp was greeted as a celebrity, for the
Cubists' preoccupation with a monochromatic palette. Yet Nude Descending a Staircase had been the cause ckl2bre of the
for Duchamp, the repudiation of color's expressionistic Armory Show three years earlier. Despite this acclaim, he
qualities may reflect the initial stirringsof a more conceptual, chose to abandon the lucrative career of a painter whose fame
anti-retinal approach to art (note his remark regarding color: would have virtually guaranteed success. Instead, he elected
". . . it's only optical. . ."). Although this position was not to work quietly on the LargeGIass and various related projects
then fully crystallized in Duchamp's mind,s it developed and occasionally issued a Readymade sculpture. In Paris,
rapidly in ensuing years, beginning in the spring of 1912with Duchamp had already selected several commonplace ob-
a series of mechanomorphic paintings, works that would jects for display in his studio, but it was not until shortly after
eventually reach fruition in the calculated, scientific execu- his arrival in New York that he coined the term Readymade
tion of the Large Glass (fig. 3). and publicly presented these objects as works of art. In this
For the next three years, from 1912 through 1915, DU- first letter from New York to survive from hi correspond-
champ assembled notes and sketches for the Large Glass and ence with his sister, Duchamp thanks her for cleaning out
completed several preparatory studies for this monumental his Paris studio and takes the occasion to discuss his concep
work, although he did not actually begin to execute it until tion of the Readymade.

Around I 5th of January, [ I ~ 61

I Another "readymade" is called : Emergency in
favor oftwice, possible translation in ~rench-
My dear Suzanne, D a n-~ e (Crise)
r - en "faveur de 2 fiis.9 This whole

Thanks a lot for taking care of all my stuff-but preamble in order to actually say:
why couldn't you have taken my studio to live in ? You take for yourself this bottle rack. I will make
It occurred to me just now, but I suppose that it a "Readymade" from a distance. You will have to
probably wouldn't do for you. In any case, the lease write at the base and on the inside of the bottom
expires on July 15th and if you were^ to take it, do so ring in small letters painted with an oil-painting
only if you offer my landlord to rent it three months brush, in silver white color, the inscription that I
at a time as it's usually done; he will surely agree. will give you afier this, and you will sign it in the
Father probably wouldn't mind recovering a month's same hand as follows :
rent if it's possible for you to leave [rue] La Condamine [after] Marcel Duchamplo
by April I 5th.-But I don't know anything about
your intentions and I just wanted to suggest
..
some-
thing to you-
Now, if you went up to my place you saw in my
studio a bicycle wheel [fig. 41 and a bottle rack
[fig. 51. I had purchased this as a sculpture already
made. And I have an idea concerning this said
bottle rack: Listen.
Here, in N.Y., I bought some objects in the same
vein and I treat them as "readymade." You know
English well enough to understand the sense of
"ready made" that I give these objects. I sign them
and give them an English inscription. I'll give Fig. 3. Marcel
Duchamp, The Bride
you some examples: Stripped Bare by
I have for example a large snow shovel upon which Her Bachelors, Even
I wrote at the bottom :In advance ofthe broken arm, (Large Glass),
1915-1923. Oil and
translation in French: En avance du bras cassk [fig. 61. lead wire on glass,
Don't try too hard to understand it in the Romantic ~ o g %by 69%in.
Philadelphia Museum
or Impressionist or Cubist sense-that does not of Art, bequest of
have any connection with it. Katherine S. Dreier.
Fig. 4. Marcel Duchamp, Bicycle Wheel, 1913 Fig. 5. Marcel Duchamp, Bottle Rack, 1914 Fig. 6. Marcel Duchamp, In A&
(original lost), replica of 1964. Philadelphia (original lost), replica from the collection of vance of the Broken Am, 1915
Museum of Art, gift of Schwarz Galleria d'Arte. Man Ray. Photograph reproduced in the (original lost). Photograph of the
Boite-en-Valise, 1941-1942. Philadelphi original suspended in Duchamp's
Museum of Art, The Louise and Walter New York studio, ca. 1920,
Arensberg Collection. reproduced in the Boite-en-Valise
1941-1942. Philadelphia Museum
of Art, The Louise and Walter
Arensberg Collection.

When the following letter was written, in the winter of 1915- that had taken place a few days earlier in their Lincoln Ar-
1916, Duchamp shared a studio in the Lincoln Arcade cade studio (fig. 8). The interviewer, a Mrs. Nixola Greeley-
Building (then located on Broadway at 66th Street) with his Smith, took the opportunity to direct some rather snide re-
good friend and compatriot Jean Crotti, who had recently marks at Duchamp's Nude, and her ability to understand
arrived in New York accompanied by his wife Yvonne Chas- these two "exponents of the eccentric and new in art," as she
tel (fig. 7). It is not known whether these French artists were described them, was not further enhanced as a result of the
acquainted before their departure for the United States, interview she conducted. In addition to a long explanation
though from the time of this sojourn in New York their life- of his own work, Crotti described Duchamp's shovel as the
long friendship was insured through a series of complicated most beautiful object he had ever seen and, artistically speak-
personal relationships, which, four years later, resulted in ing, even more interesting than a pretty girl. The interviewer
Gotti's marriage to Marcel's sister Suzanne. was then quick to point out that these comments were made
In 1915, the style of Crotti's paintings could be character- in the presence of "the very pretty Mme. Crotti," who, she
ized as a somewhat unresolved mixture of Orphism and Cub- noted, had remained silent through most of the session.1z
ism, but by the end of the year Duchamp's radical and Crotti's high regard for Duchamp's work and support for
innovative ideas had dramatically altered Crotti's compara- his ideas were even more succinctly expressed in his shock-
tively conservativeapproach to art. Crotti was with Duchamp ingly unconventional portrait of Duchamp (fig. 9), the most
when he purchased the Readymade snow shovel from a hard- controversial work shown in the exhibition. The sculpture
ware store on Columbus Avenue in New York,ll and his consisted essentially of two elements: a forehead, which gave
understanding of the iconoclasticimplications of such a work the appearance of having been cast directly from the sub-
was clearly demonstrated at the time of an exhibition held at ject's features, and a pair of artificial eyes, all held in position
the Montross Gallery in April 1916, in which he, Duchamp, by a thin wire support limning Duchamp's smiling profile.
Albert Gleizes and Jean Metzinger participated (dubbed by The emphasis on only two details of Duchamp's facial fea-
the press "The Four Musketeers Show"). On the opening tures-the forehead and eyes-is a clear illustration of the
day of the exhibition, The Evening World, New York, pub- artistic dichotomy that was of such great concern to Duchamp
lished excerpts from an interview with Crotti and Duchamp in these years: namely, the intellectual or cerebral quality of
the mind versus the retinal or purely visual properties of the shortly after his arrival in America. A year earlier he had
eyes. Ultimately, it was the more conceptually oriented a p been their house guest for a few months before finding his
proach of Duchamp and Crotti that would distinguish their own studio, and now the Arensbergs had offered to pay his
works in this exhibition from the more retinally oriented rent on this small studio in exchange for ownership of the
paintings of their Cubist colleagues.13 Large Glass. Informing his sister of this change in address,
In the fall of 1916Duchamp moved out of the Lincoln Ar- in this next letter he also responds to an inquiry she must
cade into a small studio adjacent to the apartment occupied have made about the Gottis, who by this time had already
by the wealthy collectors Walter and Louise Arensberg, gra- returned to Paris.
cious patrons of the arts who had befriended Duchamp

N.Y. October 17, 1916. this summer went back to Paris. You will meet her
one day-
My dear Suzanne, I work some, but my life is a bit unsettled.
First of all, I am changing my address. Of course take this engraving by Naudin.1~Did you
I'm going to get a small studio, a single room with write the phrase on the ready made-do so-and
a bath in a very nice building with studios. I t is send it (the phrase) to me indicating how you did it.16
through an arrangement with one of my friends.14 I am writing a little to everyone at the moment.
33 West 67th Street That's the thing that tiresme most. It's too bad
New York City that cables cost so much.
I already lived there last year, but at my friend's They are so handy.
place.- So long my dear Suzanne. Give my best regards
Thanks for moving my things. I suppose that you to Henriette, to all our male and female friends
spoke to Father about the expenses. Otherwise, tell at the hospital.17
me how much you spent and I would be glad to Affectionately yours,
write you a "check on my Paris account."-

-
Marcel
Yes Crotti has left us. His wife who stayed here

4 . -, -.
.-- - ." .---- .l/ -
21.-lr_..I TO2EDAT A P l I L 4. 1#1#-_
-- -.4 -

\Cubist Depicta Love arr8 and Glarrs;

--in Br - BETHLEHEM
- - - -
r ~in Rubbers Than In h e & Girl!" HAS NO 101
, r 6 n 1 ~Art

Fig. 7. Jean Crotti, Yvonne Chaste1 Crotti, and Marcel Fig. 8. The Evening World, 4 April 1916, p. 3.
Duchamp, from the New York Tribune, 24 October 1915.

7
The small studio Duchamp moved into was accessible to the mosphere in which to exchange ideas and opinions concern-
upper level of the ~ r e n s b eapartment
r~ by a short hallway. ing the exhibition and promotion of the new art in America.
Soon the space was overcrowded with his Readymades and It was in the Arensberg apartment that plans were initiated
with various projects relating to work on the Large Glass, to establish a Society of Independent Artists, modeled after
hardly presenting the impression of a traditional artist's ate- the French SociCtC des Artistes IndCpendants.19 According
lier (fig. 10). During the winter of 1916--1917, Duchamp led to its governing principles, members of this new organization
a rather leisurely existence for an artist of such renown, would be permitted to exhibit their work in an annual, jury-
working only a few hours a day in his studio and spending free exhibition. Exactly whose idea it was to establish this
most of his evenings in the company of the Arensbergs and society is difficult to say, but one instinctively suspects Du-
their friends. Ever since his arrival in New York, Duchamp champ, whose tendency it was to refute all conventions of
had been the star attraction at the many gatherings held at the artistic process. In fact, the object that Duchamp sub-
the Arensberg apartment, which by 1917 had developed into mitted to the first exhibition presented an open challenge to
a virtual haven for progressive European and American the very principles of the organization he had helped to es-
artists.18 Here artists from both sides of the Atlantic were tablish. In this next letter to his sister-after inquiring about
given ample opportunity to compare their work--examples her own work and proposing the idea of showing it in New
of which hung side by side on the walls of the Arensberg York (an exhibition that never materializedhhe reported
apartment-and they were also provided with a congenial at- on the fate of his notorious submission.

April 11 [1917] as a sculpture [fig. I I]; it was not at all indecent-

My dear Suzanne- no reason for refusing it... The committee has
Impossible to write- decided to refuse to show this thing. I have handed
I heard from Crotti that you were working hard. in my resignation and it will be a bit of gossip of
Tell me what you are making and if it's not too some value in New York-
difficult to send. Perhaps, I could have a show of I would like to have a special exhibition of the
your work in the month of October or November- people who were refused at the Independents-but
next-here. But tell me what you are making- that would be a redundancy!
Tell this detail to the family: The Independents have And the urinal would have been lonely--
opened here with immense success. See you soon,
One of my female friends under a masculine Affect.
pseudonym, Richard Mutt, sent in a porcelain urinal Marcel

Fig. 10. Marcel Duchamp's studio, 33 West 6/th Street, New York, ca. 1917- Fig. 11. Marcel Duchamp, Fountain, 1917
1918.Photograph reproduced in the Boite-en-Valise, 1941-1942. Philadelphia (original lost or destroyed). Photograph:
Museum of Art, The Louise and Walter Arensberg Collection. Alfred Stieglitz, reproduced in The Blind Man
no. 2, May 1917, p. 4. Philadelphia Museum
of Art, The Louise and Walter Arensberg
Collection.
While Duchamp was participating in such activities in New mate relationship with Duchamp!
York, Crotti was back in Paris experiencing certain marital This next letter from the summer of 1918 is addressed to
difficulties that may have been the direct result of his friend- Jean, but if one can take the liberty of freely interpreting the
ship with Duchamp. When Crotti returned to Paris in 1916 warm message he asks Crotti to convey to Suzanne, it is likely
he was asked by Duchamp to carry messages to various mem- that Duchamp was already aware of the relationship that
bers of his family, particularly to Suzanne.21 Though the was developing between his sister and his old friend. Mean-
precise chronology of the personal events that followed is while, he is writing to confirm the contents of a cable he had
still unclear, we do know that it was late in 1916 or sometime sent to Crotti with news of his impending departure for
during the course of 1917 that Crotti fell in love with Suzanne Buenos Aires, accompanied by Crotti s ex-wife, Yvonne! He
Duchamp, whose first marriage had ended in divorce a few uses the occasion to tell his friend about a few projects he is
years earlier. In Paris, in December 1917, Crotti's nine- working on-providing a descriptive sketch for one of them
and-one half-year marriage to Yvonne Chaste1 also ended in (see the first page of this letter, fig. 1 2 ) a n d of his pros-
divorce, whereupon Yvonne packed up her bags and re- pects for life in Buenos Aires.
turned to New York, only to find herself pursuing an inti-

Fig. 12. Letter from Marcel Duchamp to Jean Crotti, 8 July Fig. 14. Marcel Ducharnp, Sculpturefor
1918,first page. Photograph: James Medley, Jr. Jean Gotti Traveling, 1918(original lost or destroyed).
Papers, Archives of American Art. Courtesy of the Philadelphia Museum of Art.

Fig. 13. Marcel Duchamp, Tu m', 1918.Oil on canvas with brush attached, 27%by 122%in. Photograph: Joseph
Szaszfai. Yale University Art Gallery, bequest of Katherine S. Dreier.
N.Y. July 8 [1g18] 33 W. 67 and all. Constraints rule-I haven't worked on my
glass since you came here and I have no desire to.
My dear Jean, Yvonne wrote to you and you got A different country will probably allow me to have
the cable announcing that I, and probably Yvonne too, more energy.
are going to leave for Buenos Aires-Many reasons Don't speak to my family about this departure,
that you already know: Nothing serious; only a sort which I want to announce only from the boat. At the
of fatigue on the part of the A.-22 Some ill-disposed same time that I write to you I will write to Rouen
people probably arranged things this way. - I and Puteaux. I have a very vague intention of staying
recently saw Lou who was very kind-Walter has down there a long time; several years very likely-
just lost his mother. He is in Pittsburgh and I which is to say basically cutting completely with
haven't seen him for a month. I finished the big this part of the world.
panel for Miss Dreier [fig. 131 and I started another You might have the desire to come to Buenos
more interesting thing for her as well.23 You Aires. Maybe 1'11 see you there sooner than we
remember those rubber bathing caps of many both think.
colors-I bought some, cut them up into small -Tonight I just appeared in a little scene as a
irregular strips, glued them together, not flat, up in wounded soldier attended by a gorgeous nurse, in a
the middle (in the air) of my studio, and, attached by film by Perret called Lufayette, we coi~le.If by
strings to different walls and nails of my studio, chance they show this film in Paris, go see it just
it makes a sort of multicolored cobweb [fig. 141. for my little 2 minute scene.25
Yvonne hopes she can work out her business with
your company through their correspondent in
Buenos Aires, in such a way that, she will I think,
be happy to see a sun which is less humid that that
of N.Y.-26
LC
I am going to look for French lessons down there,
finished this- since I don't expect to find devotees of modern art
\ If all goes the way
I hope it will, there's a
and I have no intention of exhibiting, even though
the country would probably be amusing to educate
boat leaving on August 3rd- in that respect.
or another around August 14th. I am taking all of my papers in order to work on
If the boat of August 4th is not requisitioned by the my glass and finish all the drawings on paper-so that
United States, we should take it; it's much less if one day I ever stop by N.Y. again, I would rather
expensive: $200 direct through to Buenos Aires- rapidly be able to finish this big piece of trash.27
the other, of the 14th will go by Panama, the Pacific, So long dears, kiss Suzanne for me, and tell her
and Valparaiso, Chile, where we would take a train I am sorry not to have written her, or you for
that crosses over to Buenos Aires in 2 days. The that matter.
second one is more expensive; the trip costs When you see me again, I will have changed a
almost $400-24 great deal!
The first takes 27 days.
very affectionately to you both,
The second takes 21 days-including the train. I Marcel
will write you a note from the boat to let you know
that we left N.Y. and how! As a rule, you can write to me in care of general
We got the cable from Suzanne. And Yvonne, I delivery in Buenos Aires-I will go to the post
think, is happy to leave-for, as you've already office from time to time in the beginning, until I have
noticed, everything here has changed, atmosphere a definite address that I can send you-
After almost two months of adjusting to new life in the Apollinaire and send them to me-
Argentine capital, Duchamp began a campaign of letter Now, if you can get to see Figui&re31and convince
writing to his friends in New York, hoping to enlist their as-
sistance in the organization of an exhibition of Cubist paint- him that a free shipment of 30 copies of each of these
ings he planned to present in Buenos Aires. He wrote to 2 books could be sold here and make some publicity
Arensberg about his plans for this showing, informing him for his company (I would take the responsibility to
that he wanted to include only works that would be avail- distribute and sell them). This second, more elegant
able for sale and thus would not be asking him to send any-
thing from his collection. He added that, according to his solution would save you the trouble of advancing
principles, nothing of his own production would be shown any money.
and, should requests arise, he also asked Arensberg to not Also, besides these 2 books, could you find 5 or 6
lend any of his (Duchamp's) work to exhibitions in New copies of Mallarmt's Coup de DCs (published by the
York.28 In this next letter to Crotti he asks for his friend's
help, requestingsome books and related publicity on modern Nouvelle Revue Franpise), and a few journals
art so as to educate the Argentinians in these matters, and he dealing with Cubism (for Les Soirkes de Paris see
uses the occasion to describe the sharp contrast between the Apollinaire), in short, a bit of literature that would
art and social life of Buenos Aires and that of New York. The
letter ends with separate postscripts from Yvonne and Mar- accompany the exhibition and give a better impact.
cel, acknowledging their receipt of a cable announcing the You will get this letter around January 1st. Take
death of Marcel's brother Raymond DuchampVillon. your time and try to mail the shipment at the end of
January so that I would get it towards the end of
March.
Buenos Aires October 26 - 1918 Everything sent to-M. Duchamp
Dear Jean, I am adapting to the climate, with Alsina 1743. D ~ P2 . ~
difficulty, because the way of life of the Argentines is Buenos Aires
so different from that of New Yorkers. No public I started a small glass [fig. 151 to experiment with
dancing-The few night clubs look like the filthy an effect that I will carry over to the large glass-
3rd rate clubs of Montmartre whores.29 Night life when I return to N.Y.32
doesn't have the extent of N.Y. And moreover, well Myself, I have no intention of exhibiting here. I
brought up women don't even go to night clubs. have seen a few painters. Nothing-just a sort of
So Yvonne is now deprived of her night life. drowsiness-strange sort these Latins.
Such different ways of doing things-marvelous I was thinking of getting your clown shipped from
food . . . so much so that I noticed it! !! As I think I
told you before, there is not a trace of Cubism or
any other modern lucubrations.
So I thought that I could possibly organize a small
exhibition of the Cubists for next May-June
(because here winter starts in June). Have about 30
canvases shipped from N.Y. and perhaps awaken
these sleepy dark faces (Here we are under the reign
of Guirand de Sdvola ingested by Besnard.)lo
I am writing to N.Y. by the same mail to see how
the shipment can be handled. But you, for your part,
could you do me a favor ?
In order to enlighten these brave souls, the critics
and others, I realize that the books of Apolliniare
Fig. 15. Marcel Duchamp, To be Looked at [From the Other Side
and of Metzinger on Cubism could spare me a lot of the Glass] mith One Eye, Close to, for Almost an Hour, 1918.
of discourse. Oil paint, silver leaf, lead wire, and magnifying lens on glass,
Could you then please get together about ten 19%by 15%in. The Museum of Modern Art, bequest of
Katherine S. Dreier. Photograph of the work unframed, taken
copies of Du Cubisme by Gleizes and Metzinger ? in Buenos Aires in 1918--1919.Courtesy of Yale University
About ten of the Cubist Painters by G. Art Gallery, Socibtk Anonyme Collection.
N.Y. to show here.33 I think that having the glass Lots of hugs Yvonne Marcel
sent would be too dangerous for it. Jean, Darling. Lots of kisses and hug Suzanne for
So there you go, old friend. Write, and by the way me. I am very upset by the news.
if you've done anything new, send it here and I'll Yvonne
put it in the show. I won't ask you to go see other
painters to get anything from them to come from Received the horrible cable just before sending this
France. It's too much work for you and they really letter.34 Tell Suzanne of my despair in being so far
wouldn't be cooperative (Not to mention the law from you all in such a circumstance. I cannot believe
against shipping paintings). it, all the more so because I haven't seen him for so
Hug Suzanne. Is she working ? She should send long-and then he was in good health. I hope the
me photos of what she's done. T h e last news almost family can bear up ! ! !
made me hope we would see each other soon.- God be with you again and very cordially,
Well, good bye dearies. Marcel

During the first few months of 1919Duchamp began to pur- Henri-Martin Barzun-who apparently never responded to
sue a more serious interest in chess,35 a game that had cap- his letters and cables.36 By early March, Yvonne became so
tivated his attention since his early teens. He began a careful bored by the lack of activity in Euenos Aires that she de-
study of recorded games and joined a local chess club, where cided to return to Paris, which provided Duchamp with suf-
he took lessons from one of its best players. As his interest in ficient incentive once again to address a letter to his old friend
chess increased, his hopes to stage an exhibition of Cubist in Paris, which he asked Yvonne to hand-deliver to her for-
paintings in Buenos Aires dwindled, due primarily to a lack mer husband.
of cooperation from two of his French friends-Gleizes and

Buenos Aires Sunday March 9 [1919] Then I am thinking of going back to N.Y.
T h e exhibition that I had planned here will most
My dear Jean. Yvonne is leaving the day after probably not take place-which will enable me to
tomorrow, on Tuesday, and I will give you, as I leave return to France a little sooner.
her in good health, this little note-in the middle Do you have any spare time to realize your fantasies ?
of her luggage. And Suzanne, did she get any work done ? I can't
I insisted that she not leave. But her little will wait to see you all again and how you must have
power and my desire not to counteract any sort of changed after 4 years. I grew a little older. I was
whim, resulted in her deciding to go. losing my hair some time ago but a powerful
Life here wasn't very lively for her although she treatment of Yvonne's and a crew cut seem to have
did join the consular circle towards the end and met saved it for a while.
important personalities from B. A. I was able to work So long old friend. Hug Suzanne well for me and
a lot with no cafe life or evenings out. I have thrown see you soon.
myself into the game of chess. I belong to the local very affectionately
club and, out of 24 hours in a day, I spend a good Marcel
number there.
Getting to bed late, getting up late too. I am Thanks a lot for the books on Cubism, and I am
thinking of taking a boat in June and will meet you very happy that Figuike didn't send any more since
all in Paris; if I am able to stay for a long time I will all these projects to Cubify B.A. are shattered (as
work a little but I suspect that this stay will be short. they say in Spanish, which I don't speak).
At just about the time when he should have received the
letter-in April of 1 9 1 p G o t t i married Suzanne
Duchamp. Upon hearing of their mamage, Duchamp wrote
to the newlywed couple, sending his wedding present in the
form of written instructions for the execution of a Readv-
made. Although this particular letter is, curiously, missing
from their extant correspondence,37 we know from later in-
terviews with Duchamp that this Readymade was to con-
sist of ". . .a geometry book, which he [Gotti] had to hang
by strings on the balcony of his apartment in the Rue La
Condamine; the wind had to go through the book, choose its
own problems, turn and tear out the pages."38 While the
original Readymadewas doubtlessdestroyed by the elements,
its appearance is preserved in a photograph of the suspended
textbook (fig. 16) and in a painting by Suzanne, which she
titled Le Ready-made malheureux de Marcel [Marcel's Un-
happy ~ e a d ~ m a d(fig.
e ] 17), a work dating from a year later
and based on an inverted image of the photograph.39
Fig. I 6. Marcel Duchamp, Fig. 17. Suzanne Duchamp, Le
In keeping with his plans, on June 22, 1919, Duchamp Unha~~ Readymadr,
y I 9I 9- Ready-Made Malheureux de Marcel
boarded the S.S.Highland Pride and set sail for Europe. He 1920 (original destroyed). [Marcel's Unhappy Readymade],
must have been by the prospect of rejoining his fam- Photographer unknown. 1920. O
il on canvas, 31% by 2SS/.in.
ily, particularly his newlywed sister and brother-in-law. But Photograph from the collec- Collection Professor Guido Rossi,
the Paris Duchamp left four years earlier had changed con- tion of the Philadelphia Milan.
siderably; the war had taken its toll in lives-numbering Museum of Art, gift of Mr.
~ ~ o l l i n a i and
r e Duchamp's brother Raymond among its and Mrs. William Camfield.
victims-and the art scene could no longer be characterized
as a battle for or against the Cubists and Cubism. Rather, in
what could be considered a postponed reaction to the atroci-
ties of war, a group of French artists rallied under the battle
cry of Dada,4o a rebellious literary and artistic movement
founded years earlier in Ziirich. Despite the fact that at
this time Ducham~was the house mest of Francis Picabia-
then one of ~ a d 2 chief s prosel&ers and ringleaders in
Paris-Duchamp refused to partake officially in any of their
organized activities. After only five months of renewed ac-
quaintanceship with his fellow countrymen in Paris, in De-
cember of 1919 Duchamp headed back to New York, to
rejoin the activities of his American friends.
But upon his arrival in January of 1920, Duchamp dis-
covered that the war had left its destructive mark on America
as well. Many galleries for the display of modern art closed
during the war, and the closely knit unit of friends who con-
gregated at the Arensberg apartment had largely dispersed.
Perhaps as a direct result of the sparsity of social activities,
this year in New York marked one of the most productive
phases in Duchamp's career: he began experiments in optics
and film, completed the construction of a large motordriven
machine (fig. 18), and, with Man Ray and Katherine Dreier,
founded the Socidt6 Anonyme, Inc., the first museum in the
United States devoted to the display and promotion of mod-
em art.41And his interest in chess reached a new high as he
engaged in professional competition as a membe; of the
Marshall Chess Club. A full account of these and other ac-
tivities is provided in this next letter to his sister and brother-
in-law, written from his residence in the old Lincoln Arcade Fig. 18. Marcel Duchamp, Rotary Glass Plates (Precision
Building where he had shared a studio with Gotti some four Optics), 1920. Motorized optical device: painted glass plates,
years earlier. wood and metal braces, metal axis, 47%by 72%in. Photo-
graphed in Duchamp's studio, 246 West 73rd Street, New
York, 1920. Photographer: Man Ray. Yale University Art
Gallery, gift of the Sociktk Anomyme.
N.Y. around October 20th [rgzo]. I must really have Beatrice is also married [and] really gets herself
something to ask of you if I am writing (this is so into predicaments at times.51
you won't have to say it.) I liked the photo very much of the Ready Made
Dear old friend, dear Suzanne. I have been sitting there on the balcony [fig. I 61. When it all
meaning to write to you for 6 months. But writing falls apart you can replace it. (Oh! That's right,
letters bugs the hell out of me . . . etc. etc. you've moved).
Not much new here.-The SociCtC Anonyme is a I also work on my large glass (I scratched out a
gallery where one exhibits without selling. It costs mirrored design on it after the engraving that
2 j cents to get in. My original idea was to have the Yvonne has at her house)-52
critics pay jo cents. But they don't come anyway. As for chess? Great, Great! I played a lot in
Apart from this, it's the only thing of interest in simultaneous matches that Marshall held, playing on
N.Y.-Nothing else. DeZayas is now a traveling 12 boards at a time. And I won my match 2 times.
salesman for paintings. (All periods, all types):. Our I've made enormous progress and I work like a
friend Coady has disappeared from circulation.43 slave. Not that I have any chance of becoming
Montross I haven't seen for 2 ~ e a r s . 4The
~ champion of France, but I will have the pleasure of
Independents are having their annual exhibition. being able to play almost any player, in a year or two.
In any case, I think that painting is not so interesting Naturally this is the part of my life that I enjoy
that people ought to devote themselves to it any most.
more than I already have. This winter I will be on Marshall's team (his 8
Walter is well and is working like a madman on his best players) against the other N.Y. teams. Just as I
Dante, which threatens to never get finished.45 I had already done last winter-but this time I'm
don't go there as often as I used to. Fewer or no hoping to win a few games (which I didn't then)-I
meetings like the famous ones.-From time to time am crazy about it-
we drink, a lot if we want, but it's too expensive for Something else-I am about to launch on the
me.46 (By the way, I saw Bibily [?I a month ago.47 market a new form of chess sets, the main features
It was the first time since the famous shipment. He of which are as follows:
swore to god that he never received anything- The Queen is a combination of a Rook and of a
It's probably true. Bishop-The Knight is the same as the one I had in
In any case, thank you old friend, and you too South America. So is the Pawn. The King too.
Suzanne, for having sent the "liquor" and a belated 2nd They will be colored like this.
apology for bothering you so with that thing. The white Queen will be light green.
I really don't drink anymore, but that doesn't put 7) black )) 99 dark 7 7
9,

weight on. I get to bed between 4 and j A.M.-I The Rooks will be blue, light and dark.
have trouble getting up before I P.M. The Bishops )) yellow,
)) ,,
9) 9)

Have many lessons [The winter season is The Knights red, light and dark.
beginning againl.48 White King and Black King
I made a "monocle" [fig. 181-It's a thing that White and Black Pawns
spins very fast with an electric motor-very Please notice that the Queen in her color is a
dangerous-almost killed Man Ray with it. I hope to combination of the Bishop and of the Rook (just as
take pictures of it and send you some.49-I've got a she is in her movements)-
"Moving Picture Camera!" I've had it for six 3rd I am going to ask Marshall if I can use his
months-but it costs so much (the film) that I must name and call them Marshall's Chessmen. I will
space out my cinemagraphic outpourings. give him 10% of the receipts.
I'm feeling less bored today than usual. Make the 4th They will be made out of cast plaster mixed
most of it- with glue, which will make them as sturdy as wooden
Alice is in Long Beach (or was) with her husband, pieces. (Perhaps your stone might be useful; I will
whom I don't know.50 send you a set as soon as it's ready and you can
experiment with it if you like)- enclosed.) If it is not possible by mail, could you
But I haven't talked about you; how are you my give it to someone who is coming here, to spare him
old friend ? I hope you're not angry with me for not the 32 frs. for shipping? He will naturally pay you
writing for so long, but writing really bugs the back for your "expenditures."
hell out of me. Carl already wrote to Lefranqois so he should give
So long my children; I am going to write to Puteaux. the book (paid by him) to the bearer of the enclosed
I'm still planning on going to France in July 1921. letter. So, as you can see it's not too complicated;
Tell me something of what you're making-- and less than the bottle of Whisky.
Oh! I almost forgot the actual point of my letter: One of these days I'm going to get drunk.
Carl Van Vechten53 bought a book called : Affectionatley yours, to you both,
G. de Cherville : Marcel
"Chiens et Chats d'Eun2ne Lambert. 1947 Broadway
He paid 30 fr. for the book and they asked him 32 fr. Room 3 I 6
to ship it.-If it is possible to send it by mail, could N.Y. City
you take care of it by going to Albert Lefranqois, T h e old building is well, as always, and sends its
8 rue de Rome ? (The letter he wrote to Carl is regards.

During Duchamp's absence from Paris the art scene was allegiance to this radical group by adding their signatures to
overtaken by an onslaught of Dadaist activities. Early in 1920 a Dadaist tract and, later in the year, by participating in two
Tristan Tzara came from Ziirich to join AndrC Breton, Pi- mock events staged by the Parisian Dadaists. At Tzara's
cabia, and others in presenting the Parisian public with a urging, in preparation for the grand Salon Dada, to be held
series of mock performances, outlandish exhibitions, and in- at the Galerie Montaigne in June, they wrote to their infa-
tentionally abrasive publications. During the 1920 Dadaist mous relative in New York requesting his participation. His
season both Suzanne Duchamp and Jean Crotti continued to response, preserved in the following letter, emphatically re-
assume a position rather detached from these Dadaist ac- iterates the position he had maintained against the showing
tivities, but in January of 1921 they openly declared their of his work.

May 19 1921 N.Y. I leave on the "France" on June 9th and I plan to
stop in Rouen for a day or two before visiting Paris.
Thanks for sending the book. I'll look out for it. I have seen Peter Juley and I have 2 photos of the
You know very well that I have nothing to show-and head-I am going to see Sheeler for the clown.55
that to me the word show sounds like the word Will see about the records for you and Mad.
marriage.54 Your catalogue is wonderful. What kind of success
Consequently, don't expect anything and don't did you have with i t ? I regret that I wasn't there.
worry. Thanks anyhow for having thought of me. What kind of paintings do you buy and sell ? Are you
This Dada exhibition will be very amusing for me- in contact with de Zayas ?-He is one of the big
here, Nothing at all but the city itself. T h e least handlers of modern and antique art here.56
entertainment costs a lot now, and boozing has If you are in need of an employee, perhaps I
become very high brow. could qualify for the job.
I wait until I'm out at sea (3 miles out) to drink a See you both soon-

cocktail at normal prices, or cocktails at a normal Affect.

price. Marcel

In response to what must have been a second request to placards in the spaces reserved for Duchamp's work.57 In
show at the Salon Dada, on June I, 1921, Duchamp fired off keeping with the plans mentioned in the preceding letter,
a two-word cable which read simply "PODE BALn-loosely Duchamp sailed on the France in June and spent the next
translated, "Balls to you." Crotti dutifully passed this on to six months in Paris sharing quarters with Jean and Suzanne
the exhibition's organizers, who were forced to hang blank on Rue La Condamine. At this time the Crottis were still
strongly associated with Dada, though Jean was then just because it provides an excellent example of Crotti's continued
beginning to develop ideas on a movement of his own mak- respect for and reliance upon the thoughts and opinions of
ing, which he called Tabu.58 his famous brother-in-law.
Apparently these movements and organizations held little Written to satisfy Crotti's quest, the major portion of this
interest for Duchamp, who by November had so tired of the letter is devoted to an evaluation of Crotti's work, which at
activities in his native country that he wrote the Arensbergs, the time concerned itself with themes and imanes u

of a Dre-
"I've already had enough of Paris and of France in general," dominately religious nature. As in the criticism he provided
adding that he planned to return to New York by mid- for his sister's paintings some forty years earlier-in the
January.59 On January 28, 1922, Duchamp sailed on the first of the ten letters published here-Duchamp's com-
S.S. Aqliitania and arrived in New York about three weeks ments are tactful and reserved. Rather than focus s~ecificallv
later. This sojourn in America, however, lasted for only on Crotti's work, his remarks are more philosophically di-
about a year and, except for occasional travel in Europe and rected to the futility of an artist's attempt to assess the in-
a few brief trips abroad, Duchamp remained in France for trinsic value of his own art. Some of the ideas he touched
the next twenty years. His close proximity to the Crottis in upon would be more fully developed in "The Creative Act," a
Paris explains the sparsity of their correspondence from this lecture Duchamp delivered at a convention of the American
period, but a second important exchange of letters followed Federation of Arts in Houston, Texas, in April of 1957.~0 But
upon Duchamp's final move to New York in 1942, where he unlike the many statements issued in public lectures and inter-
settled for the rest of his life. The last letter presented here views, his remarks in the following letter reveal the straight-
dates from this period and, although it falls outside the con- forward and unguarded opinion of an artist who devoted his
text of the early Cubist and Dadaist periods, it is included art and life to challengingall levels of the artistic process.

Suzanne, do you still have any Dada drawings or

watercolors that you would like to show? Give them
Dear Jean Dear Suzanne to Rose Fried.
You must have asked yourself what I was doing I f you think of anything else from the same period,
after having sent me your long letter about the tell me.
Sweeney exhibition!61 Thanks for the articles from Switzerland and from
Completely in agreement with you-without Carrouges,66 to whom I haven't yet written.
forgetting that Sweeney had to organize the entire Katherine Dreier's sister, Mary Dreier, gave me
exhibition in 6 weeks (before the opening), I know for you and Gaby 2 beautiful Spanish shawls as
that he was unable to do anything but an approxi- souvenirs-I am having them brought to you by
mation, and unfortunately, too much according to his Rose Fried (she is leaving Sept. 12th; I'll tell you the
own taste (which by the way isn't bad). boat another time). You will decide, Gaby and you,
I remember that in our conversations with him on which one suits whom. You can thank Mary Dreier
this subject, I had suggested to him the idea of giving after you receive them.
at least a little panel (very little) to Dada, which is Miss Mary Dreier 24 West 55th St. New York.
one of the definite manifestations of the last 50 You ask my opinion of your work, my dear Jean.
years-he did nothing about it, naturally. It's a lengthy thing to say in just a few words-and
Related to this, Janis is organizing a Dada especially from me who has no faith at all-of the
exhibition for March or April 1953-he is entrusting religious sort-in artistic activity as a social value.
me with the organization of the ideas for this Artists of all times are like the gamblers of Monte
exhibition62-and for the Parisian aspect, I would like -lottery allows some to succeed
Carlo, and this blind
to have your clown on glass (made i n N.Y. ?).63I f and ruins others. I n my opinion neither the winners
you want to send it right away with Martha nor the losers are worth worrying about. It's a good
Pelletier's s0n,~4who is leaving for N.Y. on the personal - deal for the winner and a bad one for the
Queen Mary on Sept. 3rd, perhaps you will still have loser.
time. I n any case it isn't urgent-I feel that it's -
I do not believe in painting, in itself. A picture is not
better to send it with someone.-In fact, Rose made by the painter but by those who look at it
Fried will be able to bring it back upon her return and grant it their favors; in other words, there does
i n October.65 not exist a painter who knows himself or knows what
he is doing-there is no exterior sign that explains This does not deny what I was saying above, for I
why a Fra Angelico and a Leonardo are equally believe in the original fragrance, but like all fragrances,
"recognized." it evaporates very quickly (some weeks, some years
Everything happens through pure luck. Artists at most); what remains is a dried nut, classified by
who during their life time have known how to make historians in the chapter "history of art.''
their shoddy goods appreciated are excellent traveling So if I tell you that your paintings have nothing in
salesmen, but nothing guarantees the immortality of common with what one generally sees classified and
their work. And even posterity is a real bitch who accepted, that you have always known how to
cheats some, reinstates others (El Greco), and is also produce things which are entirely your own, as I truly
free to change its mind every 50 years. believe, that does not mean that you have the right
This long preamble in order to advise you not to to sit down next to Michelangelo.
judge your work, for you are the last to see it (with What is more, this originality is suicidal, in the
real eyes). That which you see in it is not what makes sense that it removes you from a "clientele"
its worth or lack of it. All the words that will be used accustomed to "copies of copyists," what is often
to explain or praise it are false translations of what called "tradition."
happens beyond sensations. Another thing, your technique is not the "expected"
You are, like all of us, fogged by an accumulation technique. It is - your personal technique borrowed
of principles or anti-principles, which generally from no one-by this as well, the clientele is not
embroil your mind by their terminology and without won over.
knowing it, you are the prisoner of an education that Obviously, if you had applied your Monte Carlo
you believe to be liberated. system to your painting, all these difficulties would
In your particular case you are certainly the victim have been transformed into victories; you could have
of the "School of Paris," that fine joke that has lasted even created a new school of techniques and originality.
for 60 years (the students award the prizes to I shall not speak to you of your sincerity because
themselves, in money). that is the common weal, the most ordinary and the
In my opinion there is salvation only in an least valid. All liars, all bandits are sincere.
esoteric-now, after 60 years we have witnessed a Insincerity does not exist. T h e malicious are sincere
public exhibition of our balls and multiple hard-ons. and succeed through their malice, but all their being
T h e grocer of Lyon speaks in knowing terms and is made up of malicious sincerity.
buys modern paintings. I n 2 words, use less self-analysis and work with
American museums want at any price to teach pleasure without worrying about opinions, yours
modern art to young students who believe in a and those of others.
"chemical formula." Affectionately,
All that produces only the vulgarization and Marcel
complete disappearance of the original fragrance.67

NOTES ters written to or from Marcel Duchamp send copies to Anne d'Harnon-
court, Director, Philadelphia Museum of Art, P.O. Box 7646, Phila-
The publication of this article coincides with an exhibition, TABU delphia, Pennsylvania 19101. Mme. Marcel Duchamp and Miss d'Har-
DADA, Jean Crotti and Suzanne Duchamp, 1915-1920, organized by noncourt have kindly endorsed and encouraged the publication of the
William A. Camfield and Jean-Hubert Martin. The exhibition will open ten Duchamp letters presented here.
in January 1983 at the Kunsthalle, Bern, and is scheduled to travel later z.I t was through the kindness and generosity of Professor Camfield
in the year to the Muste National d'Art Moderne, Paris; Museum of of Rice University that the author was first directed to the location of
Fine Arts, Houston; and the Philadelphia Museum of Art, Philadelphia. these papers in the collection of '4lice Buckles-Brown, Berkeley, Cali-
Professor Camfield provided me with a manuscript copy of his essay for fornia. The material in this collection-letters, photographs, scrapbooks
the catalog that will accompany this exhibition, from which I have freely and unpublished manuscripts-was subsequently donated by Ms.
derived biographical information on Suzanne Duchamp and Jean Crotti. Buckles-Brown to the Archives of American Art, Smithsonian Institu-
The reader is directed to this catalog for a more complete study of these tion, Washington, D.C.
artists and their work. 3. The author owes a debt of gratitude to the following individuals, all
ofwhom contributed in varying degrees to the translation ofthese letters:
I . An anthology of Duchamp letters is being prepared by Anne Patrice Lefrancois, Anne d'Harnoncourt, Sidney Geist, Patricia Watson-
d'Harnoncourt. I t is urged that individuals in possession of original let- Jungmann and William Camfield. The responsibility for any flaws that
may be found in these translations, however, rests entirely with the Blind Mart magazine, where the item in question was first provided an
author, who served as their final editor. adequate public defense.
4. This group stressed the interrelationship of the arts. I t was founded 21. According to Robert Lebel (Marcel Duchamp, [New York: Grove
by Pierre Durnont and Robert Pinchon, and although it was based in Press, 19591, p. 45), after their meeting in Paris, "Crotti went back to
Rouen, many Parisian artists participated in its activities and exhibitions New York to be divorced and from there he wrote Suzanne a series of
(see William A. Camfield, Frailcis Picabia, His Art, Life and Times, love letters in the Dada style." No letters of such a description, however,
[Princeton, New Jersey: Princeton University Press, 19791, p. 24). survive among their papers.
5. The Salon des Indipendants was held from March 20 to May 16, 22. ". .. the A[renshergs]"
1912; according to the catalog, the following three paintings were exhib- 23. Katherine S. Dreier was an artist, author, and an ardent supporter
ited by Suzanne Desmares [Suzanne Duchamp]: 917. Portrait; 918. of modern art, who became fascinated with Duchamp and his work from
Intimitt: and 919. A des Esseintes (fleurs) (information provided by the time of their meeting when the Independents Society was being or-
William Camfield). ganized (on Dreier, see Ruth L. Bohan, "Katherine Sophie Dreier and
6. The "portrait" of Suzanne's sisters to which Duchamp refers is New York Dada," Arts nragazine 51, no. 9, [May 19771: pp. 97-101 and
probably the painting titled Intimitt, illustrated here, shown as entry n. 41 below).
number 918 in the Salon des Indtpendants of 1912 (see previous note). 24. The boat Duchamp and Yvonne finally took was the S . S . Crqftorl
7. Charles Desmares was a Rouen pharmacist, to whom Suzanne was Hall, which left New York on '4ugust 13, 1918.
married for three years, from 191I through 1914. 25. This film starred the American actor E. K. 1,incoln and the
8. Sixty years later Duchamp acknowledged that he intuitively re- Italian actress Dolores Cassinelli, and was shot in New York in the sum-
jected the retinal basis of abstract painting and only "figured" out why mer of 1918 by the French film director Ltonce Perret (1880-1935).
afterward." (Interview with Pierre Cabanne, Dialogues mith Marcel According to information provided by a journalist who attended a day's
Duchamp, [New York: (Viking, 19711, p. 43). shooting of this film, the French government lent its official sanction to
9. This Readymade is lost and no record remains of its original ap- the production of this picture and chose it as a means to convey their
pearance. appreciation for America's participation in the war (see Ethel Roseman,
10. Brackets are Duchamp's. What Duchamp did not know at the "The Extra Girl Looks into E. K. Lincoln's Eyes, and-!," Motioii Pic-
time of this writing is that his sister had probably already discarded the ture Classics 7, no. 2, [October, 19181: 41). In the journals of Henri-
bottle rack-a fate common to many of the early Readymades-when Pierre Roche (Humanities Research Center, University of Texas at ' 4 ~ s -
she cleared out his studio (reported by Duchamp in his interview with tin), there is evidence that Walter Arensberg had a part in financing
Pierre Cabanne, Dialogues mith Marcel Duchamp, p. 47). Perret's projects in 1918, and this may have been the reason for Du-
I I. Information provided by William Camfield. champ's cameo appearance. T o date, attempts to locate a copy of this
12. Though it is doubtful that Crotti's comments were directed at his film in both American and European film repositories havc been un-
wife-as this interviewer's remarks might have us believe-it is worth successful.
noting that in the following year their marriage would end in divorce. 26. Crotti's company was a business involved with the sale of coal
13. In a letter to Crotti (Jean Crotti Papers, Archives of American (information provided by William Camfield).
Art) Gleizes voiced his strong disapproval of the titles Crotti had given 27. Duchamp's exact words were ". . . cettegrande saloperie."
to his works, fearing they could cause a scandal that would implicate all 28. Duchamp to Arensberg, 8 November 1918, The Francis Bacon
of the artists showing in the exhibition (letter inscribed simply "Mon- Library, Claremont, California.
day night" and, based on internal evidence, dating from early April, 29. Duchamp's exact words were ". . .b o i l e ~ d e 3ordre
~ ' ~ ~d i ~Montrrtar~re
1916). For further discussion of this letter and the controversy see Wil- grires irfimes."
liam Camfield, T A B U D A D A . 30. Duchamp's exact words were ". . . Guirairrl de Sciaola srrci par
14. According to surviving account ledgers for the building, on No- Besnard." Duchamp must have considered these two artists typical ex-
vember 30, 1916, Arensberg began paying a monthly rent of $58.33 for amples of academic and sentimental taste. De Scivola (Victor Lucien,
the Duchamp studio, which continued through to October 31, 1918 1874-1950) was a French painter known for his portraits, genre scenes
(documents kindly made available for the author's inspection by Mr. and landscapes of Versailles; during the First World War he organized
Peter Rose). and commanded a French camouflage unit. Albert Besnard (1849-1934)
15. Bernard Naudin (1876-1946), French illustrator and engraver was a well known student of Alexandre Cabanel, who from the time he
who worked in a manner reminiscent of Rembrandt and Goya. He was won the Prix de Rome in 1874 had established a considerable reputation
best known for his illustrations of books by Diderot and Franyois Villon, in Paris as an academic painter. His allegories and historical scenes from
as well as his illustrations that appeared in the various Parisian journals the 1890s decorate several public buildings in Paris.
around the turn of the century. 31. Eugene Figuiere, French book publisher, noted for his publica-
16. Apparently Suzanne had not yet informed her brother that the tion of Gleizes and Metzinger's Cubisme (1912) and Apollinaire's Les
Readymade had been discarded when she cleared out his studio (see n. Peiiztres Ctrbistes (1913), as well as for his many editions of avant-garde
I o above). poetry.
17. During the war years Suzanne moved to Paris and worked as a 32. This small glass is a detailed study for a section of the LargeGlass,
nurse in a military hospital (see fig. 9). only portions of which were incorporated into the final work.
18. On the Arensberg salon see Francis Naumann, "Walter Conrad 13. The Clomtr, 1916, is a glass and wire construction by Crotti now in
Arensberg: Poet, Patron, and Participant in the New York Avant-Garde, th; collection of the Musie d'Art Moderne de la Ville de Paris, Paris;
1915-20," Philadelphia Museum of .4rt, Btrlletin, vol. 76, no. 328, for an illustration and discussion of this work see William Camfield,
Spring 1980. T,4BU D A D A .
19. Although it was predominantly members of the Arensberg group 34. Raymond Duchamp-Villon died in a Cannes military hospital on
who were responsible for the organization of this society, Arensberg's October 9, 1918.
name is curiously absent from the list of organizers that appeared on the 3j. Duchamp to Arensberg, 7 January 1919, 'The Francis Bacon
initial announcement sent to artists in January of 1917 (information Library, Claremont, California. In this same letter Duchamp describes
kindly provided by Garnett McCoy in a letter to the author, 21 Decem- a set of rubber stamps he has designed in order to facilitate playing chess
ber 1981). For a full account of the society's 1917 exhibition, see Francis through the mail.
M. Naumann, Part I, "The Big Show: The First Exhibition of the So- 36. So Duchamp reports to Arensberg in a letter dated "end of March,
ciety of Independent Artists," Arflorum 17, no. 6 (February 1979), 1919," The Francis Bacon Library, Claremont, California.
pp. 34-39; Part 11, "The Critical Response," Artforuun 17, no. 8, (April 37. The absence of this letter may have been the result of its removal
1979) PP. 49-53. from the location where the Crottis usually stored their correspondence
zo. This is our first knowledge of the fact that Duchamp originally in- with Duchamp, in order to follow more carefully his instructions for the
tended this work to have been submitted by a woman, and it is curious execution of this work. Or perhaps Suzanne removed it in 1920 to aid in
that at this time he does not even acknowledge to his sister that the entry the composition of her painting (?).Whatever the case may have been,
was actually his own. Apparently, Duchamp kept his identity a closely thus far efforts to locate the present whereabouts of this letter have been
guarded secret until later in the month, after the appearance of The unsuccessful.
 38. Interview with Pierre Cabanne, Dialogues mith Marcel Duchanzp, the Bachelor's Domain, or the lower half of the work. The form of the
p. 61. "Oculist Witness" was derived from the eye charts used by opticians,
39. This observation was made by Professor Camfield, who also dis- known in French as tPrnoins oculistes. These shapes were rendered in
covered the photograph of the original Readymade (see his essay in the perspective and by means of a carbon paper drawing (in the Philadelphia
catalogue T,4BU D A D A ) . Formerly, this Readymade was known to us Museum of Art; Arensberg Collection) they were transferred to a por-
only through Suzanne Duchamp's painting and an altered photograph tion of the Large Glass that had been treated with a silver adhesive. The
incorporated in Duchamp's Boite-en-Valise of 1941-1942. excess silvering was then carefully scraped away, leaving the three ocu-
40. On Parisian Dada, see the definitive study by Michel Sanouillet, list patterns.
Dada rt Paris (Paris: Jean-Jacques Pauvert, 1965); for the participation In all likelihood, the "Yvonne" to whom Duchamp refers here is his
of the Crottis, see the account provided by Camfield, T A B U D A D A . youngest sister, though it could also be the widow of Raymond Du-
41. On the Societt Anonyme, see Selected Publicatiorzs of the SociPtP champ-Villon, whose first name was Yvonne, or perhaps Yvonne
Anonyme (The First Museum of Modern Art), 3 vols. (New York: Arno Chastel, with whom Duchamp remained in touch into the 1940s (in-
Press, 1972); and Ruth L. Bohan, The SociPtP Anonyme's Brooklyn Ex- formation derived from the papers of Yvonne Chastel, collection of
hibition: Katherine Dreie, and Modernism in America (Ann Arbor, Peter Lyon, Paris).
Michigan: University of Michigan Press, 1982). A complete catalog of 53. Carl Van Vechten (1880-1964) was a music critic and novelist,
the Socitte Anonyme collection by Robert L. Herbert and Eleanor Apter who later turned to photography. In the late teens, with his wife Fania
is scheduled for publication in the spring of 1983. Marinoff he was a frequent visitor to the Arensberg apartment.
42. Marius de Zayas, (1880-1961), the Mexican caricaturist, author 54. Here Duchamp puns on the similar sounds of the French words
and gallery director, made frequent trips to Paris in this period, buying "to show" [exposer] and "to marry" [Ppouser].
and selling works of art. See de Zayas, "How, When, and Why Modern 55. Peter Juley (1862-1937) was a well known photographer special-
,4rt Came to New York," introduction and notes by Francis Naumann, izing in the photography ofart works, whose glass plate negatives are now
,4rts Magazine 54, no. 8 (.4pril 1980) 96-126; and Douglas Hyland, in the possession of the National Museum of '4merican .4rt. The "2
Marius de Zayas: Conjurer uf Sozrls, (Lawrence, Kansas: Spencer Mu- photographs of the head" to which Duchamp refers are probably the
seum of Art, 1981). frontal and profile views of Crotti's Portrait of Marcel Duchamp (Sculp-
43. Robert J. Coady (1876-1912), gallery director and editor of Suil ture made to measure), reproduced in Vanity Fair, June 1916, p. 87.
magazine. Little is known of Coady's activities from the close of his In the late teens Charles Sheeler (1883-1965) was known for his pho-
gallery in 1919 to the time of his death in 1921 (see Judith K. Zilczer, tographs of art works, and was employed for his services in this regard
"Robert J. Coady, Forgotten Spokesman for Avant-Garde Culture in by several New York City dealers and collectors. On the Clomn, see n.
America," American Art Reviem, 2, [November-December 19751: 33 above.
77-89). 56. According to these comments, Crotti apparently issued a sales
44. Newman Emerson Montross (1849-1932) was an art dealer who catalogue of works of art, trying his hand at art dealing. On de Zayas, see
had opened a gallery under his name in 188j and after the Armory n. 42 above.
Show began showing European and American modernists. It was in 57. The telegram is preserved in the papers of Tristan Tzara, Biblio-
1916 at his gallery on Fifth Avenue that the "Four Musketeers Exhibi- thtque Litttraire Jacques Doucet, Universites de Paris, Paris. For a
tion" was held, in which Duchamp and Crotti participated (on Montross full description of this item, see Arturo Schwarz, The Complete Works of
see Judith Zilczer, " 'The World's New Art Center,' Modern Art Exhi- Marcel Duchamp, 2nd rev. ed. (New York: Abrams, 1969), p. 587.
bitions in New York City, 1913-1918," Archives of Americatt Art Juur- 58. See Jean Crotti, "Tabu," The Little Review, 8, no. 2, (Spring
rzal 14, no. 3 [1974]: 4-j). 1922) 44-45. and the essay by Jean-Hubert Martin, T A B U D A D A .
45. Arensberg was then busily preparing the manuscript for his book 59. Duchamp to Walter and Louise Arensberg, I j November, 1921,
The Cryptography of Dante (New York: Alfred A. Knopf, 1921). On The Francis Bacon Library, Claremont, California.
.4rensberg's obsession with cryptography, see Francis M. Naumann, 60. Marcel Duchamp, "The Creative Act," Salt Seller :The Writings
"Cryptography and the Arensberg Circle," Arts Magazine, 51, no. 9 of Marcel Duchamp (Marchand Du Sel), eds. Michel Sanouillet and
[May 19771: 127-133. Elmer Peterson, (New York: Oxford University Press, 1973)~pp.
46. The Volstead Act, the 18th Amendment to the Constitution, 138-140.
which became law in October 1919 and was repealed in December 1933, 61. James Johnson Sweeney (190- ), noted art administrator,
prohibited the importation, manufacture, and sale of alcoholic beverages museum director, and historian. I t is not known to specifically which
within the United States except for medicinal and sacramental purposes. exhibition organized by Sweeney Duchamp refers.
Smuggled spirits, provided by bootleggers, were very costly. 62. D A D A 1916-1923, an exhibition held at the Sidney Janis Gallery,
47. According to the recollections of Louise Varese, who was a good New York, April I j-May 9, I9j3; poster/catalog designed by Duchamp
friend of Duchamp and the Arensbergs in those years, Bibily was a man (see Sidney Janis, "A Recollection of the Dada Show," in Marcel Du-
who worked in the French Embassy in New York at this time (informa- champ [New York and Philadelphia: The Museum of Modern .4rt and
tion provided in conversation, November 1982). The Philadelphia Museum of Art, 19731, p. 202).
48. Brackets added by Duchamp. On occasion Duchamp earned pock- 63. The Clvmn (see n. 33 above) was shown in this exhibition, along
et money by giving French lessons. with two other works by Crotti and three by Suzanne Duchamp.
49. The incident Duchamp refers to occurred when he and Man Ray 64. Martha Pelletier. Nothing further is known about this person.
first attempted to photograph this optical device in motion, and the belt 65. Rose Fried (1896-1970) was sole proprietor and director of the
broke away from the motor and caught in the glass blades of the machine, Rose Fried Gallery, located at 40 East 68th Street in New York City.
causing them to shatter about the studio. Man Ray vividly recalled the Earlier in the year-from February 2 j through March, 1952-the gal-
event in his autobiography, Self Portrait (London-New York: Andre lery staged an exhibition titled "Duchamp frtres et soeur." The papers
Deutsch, 1963), p. 69. and gallery records of Rose Fried are in the collection of the Archives of
jo. It is not known precisely to whom Duchamp refers. In the jour- American .4rt.
nals of Henri-Pierre Roche (Humanities Research Center, the Univer- 66. Michel Carrouges (1910- ), author and historian closely as-
sity of Texas at Austin), the name "Alis[s]" appears frequently in con- sociated with the Surrealist movement. In I9j4 he published Les nra-
nection with the Arensbergs and their circle, although a last name is chines ce'libataires, "which found that the Large Glass and a mythical
not given. apparatus described by Franz Kafka in The Penal Colony can be 'per-
51. Beatrice Wood (1892- ), a young actress-friend of Duchamp, fectly and exactly superimposed'." This information is from the analysis
Rocht, and the Arensbergs, was at this time unhappily married to her provided by Alice Goldfarb Marquis in her Marcel Duchamp: Eros,
first husband, whom she divorced in 1921, and it must be this pre- c'est la vie, a Biography (Troy, N.Y.: Whitstom, 1981), p. 314. Also see
dicament to which Duchamp refers (for Wood's recollections of this "Carrouges," Dictionnairege'ne'ral du Sirrre'alist~~r
er de ses elrviro~~s
(Paris:
period, see "I Shock Myself: Excerpts from the Autobiography of Presses Universitaires de France, 1982), pp. 79-80; and Duchamp to
Beatrice Wood," introduction and notes by Francis Naumann, Arts Carrouges, 6 February 1960, reproduced, transcribed, and translated
Magazine j I , no. 9 [May 19771: 134-139). into English in Carrouges' Le Macchine CelibilThe Bachelor Machines
j2. The "mirrored design" Duchamp refers to is known as the "Ocu- (New York: Rizzoli, 197j), pp. 48-49.
list Witness," a detail of the Large Glass located on the right portion of 67. Duchamp's exact words were ". . . parfum origi~ral."