Tag: marcel duchamp

La danseuse (Entr’acte, 1924)

Entr’acte. An “instantaneous” film. Rolf de Maré’s Ballets Suédois have just produced the film Entr’acte which will be screened during the ballet Relâche by Francis Picabia, music by Erik Satie and choreography by Jean Börlin, at the Théâtre des Champs-Elysées. The script of the film is by Francis Picabia, the technical production of René Clair. The performance brings together the names of Jean Börlin and Inge Frïss from the Swedish Ballets, Marcel Duchamp and Man-Ray. Le Théâtre et Comœdia illustré, November 1924.
Entr’acte. Un film “instantanéiste”. Les Ballets Suédois de Rolf de Maré viennent de produire un film Entr’acte qui sera projeté au cours du ballet Relâche de Francis Picabia, musique d’Erik Satie et chorégraphie de Jean Börlin, au Théâtre des Champs-Elysées. Le scénario du film est de Francis Picabia, la réalisation technique de René Clair. L’interprétation réunit les noms de Jean Börlin et de Inge Frïss des Ballets Suédois, de Marcel Duchamp, Man-Ray. Le Théâtre et Comœdia illustré, Nov. 1924. | src BnF ~ Gallica
La danseuse (Entr’acte), René Clair, 1924. | src Centre Pompidou – Musée national d’art moderne – RMN

La Septième face du dé, 1936

Georges Hugnet – Marcel Duchamp :: La Septième face du dé. Poèmes – découpages. Paris: éditions Jeanne Bucher, 1936. 20 collages de Georges Hugnet reproduits en couleur. Broché, couverture cousue à la japonaise et ornée d’après un collage de Marcel Duchamp. | src Jeanne Bucher Jaeger

Adam et Eve; tableau vivant

Man Ray :: Ciné-Sketch; Adam and Eve (Marcel Duchamp and Bronia Perlmutter), 1924. Gelatin silver print, on carte postale, printed in the 1930s. | src Christie’s & Philadelphia Museum of Art (Philamuseum)

In 1924 Francis Picabia asked Bronia to participate in a production, Ciné Sketch, that he and René Clair were putting on after the Relache ballet on New Year’s Eve. Bronia agreed, and she and Marcel Duchamp appeared nude —Duchamp did have a strategically placed fig leaf— in a living tabloid of Lucas Cranach’s Adam and Eve, which Man Ray photographed.

Ciné Sketch (1924) was a theatrical diversion conceived by Francis Picabia and René Clair, in which Marcel Duchamp and the Jewish-Polish model Bronia Perlmutter mime the figures of Adam and Eve in a tableau vivant of the Temptation after a painting by Cranach. Ciné-Sketch was performed only once, at the conclusion of Relache (by Ballets Suédois) at the Théâtre des Champs-Elysées on New Year’s Eve 1924.

Edward Weston :: Bedpan, 1930 / more [+] by this photographer

“Weston adopted the “form follows function” dictum, originally coined by the modern American architect Louis Sullivan as his own credo in the mid-1920′s and spent the remainder of his career extracting the essential structure of objects before his camera. Like other modernist photographers such as Man Ray and László Moholy-Nagy, his work proved that the formal character of the photograph could override the content, but, unlike them, he preferred to use recognizable, everyday objects from the natural and industrial world to assert his claim.”/ src: Metropolitan Museum