Which Well Known Work of Art Did Marcel Duchamp Mock in His Dada Work Lhooq?

Readymade past Marcel Duchamp

Marcel Duchamp, 1919, L.H.O.O.Q., published in 391, n. 12, March 1920

L.H.O.O.Q. (French pronunciation: ​ [ɛl aʃ o o ky]) is a work of art past Marcel Duchamp. First conceived in 1919, the work is one of what Duchamp referred to as readymades, or more specifically a rectified prepare-made.^[2] The readymade involves taking mundane, often utilitarian objects not generally considered to be fine art and transforming them, by adding to them, irresolute them, or (as in the example of his most famous work Fountain) simply renaming and reorienting them and placing them in an appropriate setting.^[three] In L.H.O.O.Q. the found object (objet trouvé) is a inexpensive postcard reproduction of Leonardo da Vinci'due south early 16th-century painting Mona Lisa onto which Duchamp drew a moustache and bristles in pencil and appended the title.^[4]

Overview [edit]

The subject of the Mona Lisa treated satirically had already been explored in 1887 by Eugène Bataille [fr] (aka Sapeck) when he created Mona Lisa smoking a pipe, published in Le Rire.^[5] It is not clear, all the same, if Duchamp was familiar with Sapeck'south work.

The proper name of the piece, L.H.O.O.Q., is a pun; the letters pronounced in French sound like "Elle a chaud au cul", "She is hot in the arse",^[6] or "She has a hot donkey";^[7] "avoir chaud au cul" is a vulgar expression implying that a woman has sexual restlessness. In a tardily interview (Schwarz 203), Duchamp gives a loose translation of Fifty.H.O.O.Q. equally "at that place is fire downward below".

Francis Picabia, in an attempt to publish Fifty.H.O.O.Q. in his magazine 391 could not wait for the piece of work to exist sent from New York City, so with the permission of Duchamp, drew the moustache on Mona Lisa himself (forgetting the goatee). Picabia wrote underneath "Tableau Dada par Marcel Duchamp". Duchamp noticed the missing goatee. Two decades later, Duchamp corrected the omission on Picabia's replica, found by Jean Arp at a bookstore. Duchamp drew the goatee in black ink with a fountain pen, and wrote "Moustache par Picabia / barbiche par Marcel Duchamp / avril 1942".^[1]

Equally was the case with a number of his readymades, Duchamp made multiple versions of L.H.O.O.Q. of differing sizes and in dissimilar media throughout his career, one of which, an unmodified black and white reproduction of the Mona Lisa mounted on card, is called L.H.O.O.Q. Shaved. The masculinized female introduces the theme of gender reversal, which was pop with Duchamp, who adopted his ain female person pseudonym, Rrose Sélavy, pronounced "Eros, c'est la vie" ("Eros, that'southward life").^[two]

Primary responses to L.H.O.O.Q. interpreted its pregnant as existence an attack on the iconic Mona Lisa and traditional fine art,^[eight] a stroke of épater le bourgeois promoting the Dadaist ideals. According to one commentator:

The creation of L.H.O.O.Q. profoundly transformed the perception of La Joconde (what the French call the painting, in contrast with the Americans and Germans, who call information technology the Mona Lisa). In 1919 the cult of Jocondisme was practically a secular organized religion of the French bourgeoisie and an important part of their cocky image as patrons of the arts. They regarded the painting with reverence, and Duchamp'southward salacious annotate and defacement was a major stroke of epater le bourgeois ("freaking out" or substantially offending the bourgeois).^[9]

According to Rhonda R. Shearer the apparent reproduction is in fact a copy partly modelled on Duchamp'due south ain face.^[ten]

Parodies of Duchamp's parodic Mona Lisa [edit]

Pre-Internet era [edit]

• Salvador Dalí created his Self Portrait as Mona Lisa ^[11] in 1954, referencing L.H.O.O.Q. in collaboration with Philippe Halsman. This work incorporated photographs of a wild-eyed Dalí showing his handlebar moustache and a scattering of coins.^{[12] [13]}
• Icelandic painter Erró then incorporated Dalí'southward version of L.H.O.O.Q. into a 1958 composition that also included a film-still from Buñuel'due south United nations Chien Andalou.
• Fernand Léger and René Magritte take also adjusted L.H.O.O.Q., using their own iconography.^[12]

Internet and computerized parodies [edit]

The use of computers permitted new forms of parodies of L.H.O.O.Q., including interactive ones.

I form of computerized parody using the Internet juxtaposes layers over the original, on a webpage. In 1 instance, the original layer is Mona Lisa. The 2nd layer is transparent in the main, only is opaque and obscures the original layer in some places (for example, where Duchamp located the moustache). This technology is described at the George Washington Academy Constabulary School website.^[xiv] An instance of this technology is a copy of Mona Lisa with a series of different superpositions—first Duchamp'due south moustache, so an middle patch, then a hat, a hamburger, so on.^[fifteen] The betoken of this technology (which is explained on the foregoing website for a copyright law grade) is that it permits making a parody that need not involve making an infringing copy of the original piece of work if it simply uses an inline link to the original, which is presumably on an authorized webpage.^[16] According to the website at which the fabric is located:

The layers image is significant in a calculator-related or Internet context because information technology readily describes a arrangement in which the person ultimately responsible for creating the blended (hither, corresponding to [a modern-twenty-four hour period] Duchamp) does not make a concrete copy of the original work in the sense of storing it in permanent form (stock-still as a re-create) distributed to the end user. Rather, the person distributes merely the cloth of the subsequent layers, [and then that] the aggrieved copyright owner (here, corresponding to Leonardo da Vinci) distributes the material of the underlying [original Mona Lisa] layer, and the end user'southward system receives both. The cease user's system then causes a temporary combination, in its estimator RAM and the user's brain. The combination is a blended of the layers. Framing and superimposition of popup windows exemplify this paradigm.^[17]

Other figurer-implemented distortions of L.H.O.O.Q. or Mona Lisa reproduce the elements of the original, thereby creating an infringing reproduction, if the underlying work is protected past copyright.^[18] Leonardo's rights in Mona Lisa would, of course, take long expired had such rights existed in his age. This is a link to examples of the foregoing parodies, together with an explanation of the technology. These animations were originally prepared by Ed Stephan of Western Washington University.

Versions [edit]

• 1919 – Individual collection, Paris.
• 1920 – Nowadays location unknown.
• 1930 – Large scale replica, private collection, Paris, on loan to the Musée National d'Art Moderne, Centre Georges Pompidou, Paris.
• 1940 – A color reproduction made from the original. Information technology was stolen in 1981 and has not been recovered.
• 1958 – Collection of Antoni Tàpies, Barcelona.
• 1960 – Oil on wood. In the collection of Dorothea Tanning, New York.
• 1964 – Thirty-8 replicas made to exist inserted into a express edition of Pierre de Massot's Marcel Duchamp, propos et souvenirs. Collection of Arturo Schwarz, Milan.
• 1965 – L.H.O.O.Q. Shaved is a playing card reproduction of the Mona Lisa mounted on paper. The Mona Lisa painting is unmodified but for the inscription LHOOQ rasée.

See also [edit]

• Mona Lisa replicas and reinterpretations
• Legacy of Mona Lisa
• Walker's Fifty.H.O.O.Q.
• Gramogram, the artwork's championship is an case of this type of pun.

References [edit]

1. ^ ^{a b} Marcel Duchamp 1887–1968, dadart.com
2. ^ ^{a b} Marcel Duchamp, L.H.O.O.Q. or La Joconde, 1964 (replica of 1919 original) Norton Simon Museum, Pasadena.
3. ^ Rudolf East. Kuenzli, Dada and Surrealist Moving picture, MIT Press, 1996, p. 47, ISBN 026261121X
4. ^ More than recent scholarship suggests that Duchamp laboriously altered the postcard before adding the moustache, including merging his own portrait with that of Mona Lisa. See Marco de Martino, "Mona Lisa: Archived 20 March 2008 at the Wayback Auto Who Is Hidden Behind the Woman With the Moustache?"
5. ^ Coquelin, Ernest, Le Rire (2e éd.) / par Coquelin cadet ; ill. de Sapeck, Bibliothèque nationale de France
6. ^ Kristina, Seekamp (2004). "50.H.O.O.Q. or Mona Lisa". Unmaking the Museum: Marcel Duchamp'southward Readymades in Context. Binghamton Academy Department of Art History. Archived from the original on 12 September 2006.
7. ^ Anne Collins Goodyear, James West. McManus, National Portrait Gallery (Smithsonian Institution), Inventing Marcel Duchamp: The Dynamics of Portraiture, National Portrait Gallery, Smithsonian Institution, 2009, contributors Janine A. Mileaf, Francis K. Naumann, Michael R. Taylor, ISBN 0262013002
8. ^ See, for example, Andreas Huyssen, After the Dandy Divide: "It is not the creative achievement of Leonardo that is mocked by moustache, goatee, and obscene allusion, only rather the cult object that the Mona Lisa had become in that temple of bourgeois art organized religion, the Louvre." (Quoted in Steven Baker, The Fiction of Postmodernity, p.49
9. ^ L.H.O.O.Q.—Net-Related Derivative Works.
10. ^ Martino, Marco De (2003). "Mona Lisa: Who is Hidden Behind the Woman with the Mustache?". Art Science Research Laboratory. Archived from the original on 20 March 2008. Retrieved 27 Apr 2008.
11. ^ Dali Cocky Portrait equally Mona Lisa
12. ^ ^{a b} Peter Hedstrom, Peter Bearman (2009). The Oxford Handbook of Analytical Sociology. Us: Oxford University Press. p. 407. ISBN978-0-19-161523-8.
13. ^ Baron, Robert A. (1973). "Mona Lisa Images for a Modern Earth". exhibition catalogue. Museum of Modern Art. Archived from the original on 28 October 2009. Retrieved 17 March 2009.
14. ^ "L.H.O.O.Q.- Internet-Related Derivative Works". Archived from the original on 17 June 2020.
15. ^ "L.H.O.O.Q. gif". Archived from the original on ii August 2020.
16. ^ Meet Perfect ten, Inc. five. Google, Inc.
17. ^ L.H.O.O.Q., Internet–Related Derivative Works, ^{[ dead link ]} George Washington Academy
18. ^ "L.H.O.O.Q. ii - Additional Demonstrative Materials". Archived from the original on three August 2020.

Further reading [edit]

• Theodore Reff, "Duchamp & Leonardo: L.H.O.O.Q.-Alikes", Art in America, 65, January–February 1977, pp. 82–93
• Jean Clair, Duchamp, Léonard, La Tradition maniériste, in Marcel Duchamp: tradition de la rupture ou rupture de la tradition?, Colloque du Centre Culturel International de Cerisy-la-Salle, ed. Jean Clair, Paris: Spousal relationship Générale d'Editions, 1979, pp. 117–44

External links [edit]

• L.H.O.O.Q. – Internet-Related Derivative Works

wilsonabastaid.blogspot.com

Source: https://en.wikipedia.org/wiki/L.H.O.O.Q.

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