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Before his arrival to the USA in 1915, Marcel Duchamp was willing to make some alterations to the manner and method of his painting. He was inclined to continue the cubists’ traditions. However, he intended to develop his painting in a different way. Thus, he proceeded further.
His desire resulted in “Nude Descending the Staircase.” As a matter of fact, the painting was rooted from an illustration dated 1911 which Duchamp had made for one of the poems which were written by Laforgue. Duchamp was willing to make illustrations for more of his poems. Nevertheless, he managed to finish only three pictures. Duchamp admitted that he did not really like the poems, but he adored the manner in which the poet named his creations.
In the drawing which preceded, there was a person who was on the way downstairs. The painting “Nude Descending the Staircase” demonstrates the same plot. Duchamp did not accept that the painting under discussion was anyhow connected with futurism. He asserted that despite it appeared at the same time, the drawing which it was based on had been made earlier. Besides, he stated that he did not keep in touch and communicate much with other painters in spite of admitting knowing them. Duchamp was willing to rely on cubism so as to demonstrate a non-dynamic movement. His aim was to make lines reduced.
He realized that he could apply some dots and other geometry in his paintings to reduce lines, too. This was the manner in which his further paintings were made. The artist did not consider his style as abstract. Moreover, he rejected any relation of it to futurism. He called the latter “impressionism of the mechanical world.” It failed to become gripping for Duchamp. He thought that the name was more important that the manner. Apart from that, he wanted his paintings to attain his own goals. He wanted everyone to reflect on his paintings but not merely watch them. Therefore, he acknowledged that the arts were supposed to provide food for thoughts.
Actually, as Duchamp stated, before the 18th century, the painting was aimed to make the viewers think. In the 19th century, the concept changed, and the painting became “physical,” which was reinforced later. Such a state of affairs was opposed by Dada, which Duchamp supported since he wanted to break free from the prison of modern viewpoints on the arts in particular and life in general. Duchamp highlighted a purgative character of Dada. He was willing to contribute to it. He comprehended that modern painting had neither philosophy nor freedom. He borrowed some features of cubism but struggled for conceptual development.
What is more, he wanted to apply 3D-dimensions in his paintings. As for Duchamp’s preferences of those times, he liked Brisset and Roussel due to their creative insanity. Brisset was a linguist, whereas Roussel was treated as a poet. Roussel influenced Duchamp in “La Mariée Mise à Nue par ces Célibaraires, même.” Duchamp tended to think that it was unusual for an artist to be affected by a poet. However, he was really influenced by Roussel. In the end, Duchamp claimed that his personal collection of books would consist of books by Roussel, Brisset, Lautremont, and Mallarme. Duchamp assumed that he did not like the phrase “silly as an artist.”
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