马塞尔·杜尚(Marcel Duchamp)高清作品《喷泉》

作品名：喷泉

艺术家：马塞尔·杜尚

年代：1917

风格：达达艺术

类型：装置

介质：成品

标签：家具装饰

尺寸：23.5 x 18 cm

收藏：泰特现代，伦敦，英国

《喷泉》是杜尚最著名的作品之一，被广泛认为是二十世纪艺术的象征。原稿，现在丢失了，由一个标准的小便池组成，平放在它的背上，而不是直立在原来的位置，并签名“R.Mutt 1917”。泰特的作品是一个1964复制品，由釉面陶器制成，类似于原始瓷器。签名是用黑色颜料复制的。喷泉是杜尚所谓的“现成品”的一个例子，它是由艺术家指定为艺术品的普通制造品。它集中体现了他和达达运动对传统和美好品味的抨击。把这样一件卑微的物品称为艺术品的想法来自于杜尚和他的美国朋友、收藏家沃尔特·阿伦斯堡和艺术家约瑟夫·斯特拉之间的讨论。谈话结束后，杜尚从水管工的商人那里买了一个小便池，并把它提交给独立艺术家协会举办的展览。董事会受协会章程的约束，接受所有会员的意见，对喷泉表示异议，并拒绝展出。杜尚和Arensburg都是董事会成员，立即辞职。当时出版的一篇文章，被认为是杜尚写的，声称穆特先生的喷泉不是不道德的，这是荒谬的，就像浴缸是不道德的。这是你每天在水管工窗户看到的固定装置。Mutt先生自己动手做喷泉是否无关紧要。他选择了它。他拿了一件普通的生活用品，把它放在新的标题和观点下面，这样它的有用意义就消失了——为这件东西创造了一种新的思想。”（《理查德·穆特案》，《盲人》，纽约，1917年5月2日，第5页。）他为这项工作创造了自我：“穆特来自Mott Works，一个大型卫浴设备制造商的名字。但是莫特离我太近了，所以我把它改成了莫特，在当时出现的、大家都熟悉的片《莫特和杰夫》之后。因此，从一开始，有一个相互作用的穆特：一个肥胖的小滑稽的人，和杰夫：一个高瘦的人…我想要任何旧的名字，我加了李察[法国俚语的富翁]。对皮索蒂来说，这并不是一个坏名字。了解了？贫穷的反面。但是甚至没有那么多，只有R.MUTT.”（引用在施瓦茨，第649页。）杜尚使用假签名“R.Mutt”，预料几年后他会采用另一个自我Rrose Sélavy（事实上，杜尚在信中称Mutt为女性）。一些评论家注意到倒置的便池就像一个女人的身体，并认为这反映了具有性别界限的戏剧，这是杜尚事业的一个重要主题。1917年展览后不久，杜尚带着喷泉去拍他的朋友，摄影师和画廊老板Alfred Steiglitz。由于原件丢失后，这张照片（在Ades，P.129再现）成为后来的复制品的基础。总共发行了15份经授权的喷泉副本，分别在1951、1953和1963年发行了一份，1964年又发行了12份。泰特的版本是1964年10月商业街廊购物中心Schwarz在米兰制作的八版。四个进一步的例子，在这一次，一个为杜尚和Arturo Schwarz，两个博物馆展览。杜尚在左凸缘“马塞尔·杜尚1964”的背面签下了这些复制品。在每一幅刻有杜尚签名的作品的基础上，还有铜版画、原件和复制品的日期、标题、版本号和出版商的名字“Galleria Schwarz, Milan”。

Title:Fountain

artist:Marcel Duchamp

Date:1917

Style:Dada

Genre:installation

Media:ready-made

Tag:furniture-and-decoration

Dimensions:23.5 x 18 cm

Location:Tate Modern, London, UK

Fountain is one of Duchamps most famous works and is widely seen as an icon of twentieth-century art. The original, which is now lost, consisted of a standard urinal, laid flat on its back rather than upright in its usual position, and signed R. Mutt 1917. The Tates work is a 1964 replica and is made from glazed earthenware painted to resemble the original porcelain. The signature is reproduced in black paint. Fountain is an example of what Duchamp called a readymade, an ordinary manufactured object designated by the artist as a work of art. It epitomises the assault on convention and good taste for which he and the Dada movement are best known.The idea of designating such a lowly object as a work of art came from a discussion between Duchamp and his American friends the collector Walter Arensburg and the artist Joseph Stella. Following this conversation, Duchamp bought an urinal from a plumbers merchants, and submitted it to an exhibition organised by the Society of Independent Artists. The Board of Directors, who were bound by the constitution of the Society to accept all members submissions, took exception to the Fountain and refused to exhibit it. Duchamp and Arensburg, who were both on the Board, resigned immediately in protest. An article published at the time, which is thought to have been written by Duchamp, claimed, Mr Mutts fountain is not immoral, that is absurd, no more than a bathtub is immoral. It is a fixture that you see every day in plumbers shop windows. Whether Mr Mutt with his own hands made the fountain has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object. (The Richard Mutt Case, The Blind Man, New York, no.2, May 1917, p.5.)Later in life Duchamp commented on the name of the alter ego he created for this work: Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. But Mott was too close so I altered it to Mutt, after the daily cartoon strip Mutt and Jeff which appeared at the time, and with which everyone was familiar. Thus, from the start, there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man ... I wanted any old name, And I added Richard [French slang for moneybags]. Thats not a bad name for a pissotière. Get it? The opposite of poverty. But not even that much, just R. MUTT. (quoted in Schwarz, p.649.) Duchamps use of a false signature, R. Mutt, anticipates his adoption of the alter ego Rrose Sélavy a few years later (indeed, in a letter of the period Duchamp referred to Mutt as a woman). Some commentators have noted how the inverted urinal resembles a female body, and see this as reflecting the play with gender boundaries which was an important leitmotif of Duchamps career.Soon after the 1917 exhibition, Duchamp took Fountain to be photographed by his friend, the photographer and gallery owner Alfred Steiglitz. Since the original was lost thereafter, this photograph (reproduced in Ades, p.129) became the basis for the later replicas. Altogether fifteen authorised replicas of Fountain were issued, one in 1951, 1953 and 1963 respectively and a further twelve in 1964. The Tates version is number two in an edition of eight made by the Galleria Schwarz in Milan in October 1964. Four further examples were also made at this time, one for both Duchamp and Arturo Schwarz, and two for museum exhibition. Duchamp signed each of these replicas on the back of the left flange Marcel Duchamp 1964. There is also a copperplate on the base of each work etched with Duchamps signature, the dates of the original and the replica, the title, the edition number and the publishers name, Galleria Schwarz, Milan.