Abstract

 
 
 In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass] (1915-23). This essay argues that the “ideas” being unloaded in the Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay.
 
 
Highlights
In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.”
He spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass] (1915-23)
This essay argues that the “ideas” being unloaded in the Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913
Summary
Duchamp’s Readymades and Large Glass Project in Context, 1913–14 considered the Large Glass his “hilarious picture,” its overall theme was a techno-scientific allegory of quest, using the newest science and technology to embody the unsuccessful sexual quest of the Bachelors below for the unreachable Bride above.[10] Beginning in 1915 in New York Duchamp worked on two panes of glass to produce his nine-foot tall work, using a variety of unorthodox materials, including lead wire (with which he “drew” the forms), lead foil, mirror silver, dust, as well as conventional oil paint and varnish In his preparatory notes he ranged through a variety of fields of science and technology to invent the narrative of the Large Glass. He had not initially considered the Bicycle Wheel a Readymade, explaining
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