Is It Art? Exploring the Works of Marcel Duchamp
By Anisa Hashemi
Arts Editor
L.H.O.O.Q. (1919)
In L.H.O.O.Q. the found object is a cheap postcard reproduction of Leonardo da Vinci’s Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title LHOOQ. Said quickly in French, it sounds like “elle a chaud au cul”, meaning that she is sexually aroused.
So, Duchamp drew on a post card and turned the dramatic and important Mona Lisa into something humorous and undignified. That is his power:
to remind us that the most widely known realities can be deconstructed and reshaped.
Art historians and critics continue to debate its significance, with some viewing it as a prank and others as a profound statement on art and society, This creation is what I consider to be the greatest example of questionable art. Often humans argue and attempt to define what is art and what is not. L.H.O.O.Q. is a challenging work to consider that can easily frustrate people. Many people consider it a work of art because of it’s ability to create such a reaction in the viewer. Whether it to be positive or negative, and because it has the power to break down an illusion of importance attributed to the Mona Lisa. However, many say that it is outrageous to consider it art, since no particular skill was required to add facial hair to a post card of an artwork someone else created, and because it is unnecessarily vulgar and inappropriate. The truth is there is almost always room for arguing and both sides can be correct. It all depends on your definition of art.
What is art?
To list a few definitions, let us start with the one you find on Google, by Oxford language, which states that art is “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power”. Though L.H.O.O.Q. shows the expression of imagination, it does not particularly portray beauty, have emotional power, nor require skill, yet it is considered art by so many! This definition is missing something in order to accommodate for the infamous vandalized postcard, yet it is still a valid perspective.
The famous Immanuel Kant said that art is “a kind of representation that is purposive in itself and, though without an end, nevertheless promotes the cultivation of the mental powers for sociable communication”. In other words, he qualifies intentional creations who cause a reaction in the viewers to be art. Based on this perspective, L.H.O.O.Q. is most definitely a piece of art.
Taking the time to find your own definition of art is very important and an interesting inquiry. No matter what it is though, it is sure to be challenged by the man painting the mustache, Marcel Duchamp.
Marcel Duchamp’s Philosophy
Marcel Duchamp is a pioneering artist of the 20th century who began his career influenced by Cubism and Fauvism and soon grew disillusioned with traditional art forms.
Duchamp introduced the concept of “ready-mades” around 1913, when he started exhibiting objects that he had not made. This way, he challenged the very notion of the role of the artist, what art is and the meaning of art. He believed that by taking these objects away from the everyday world and putting them in an artistic context as an artist, he transformed these objects into works of art; he added something to the object that was not there before. It truly raises the questions of what is the use and function of an artist? Does art need to be handmade? Beautiful? Furthermore, he believed art should appeal to the intellect and this be an object that makes the mind react, not the eyes. His works were intentionally made to go against every rule in the traditional artistic book. This controversial approach influenced Dada, Surrealism, and later movements like Conceptual Art and Pop Art. Duchamp’s legacy is also seen in the works of artists such as Andy Warhol and Jeff Koons.
Many of his avant-garde pieces are prominently displayed at the Centre Pompidou in Paris, France. In fact, we will thoroughly examine two other of his significant works: La Fontaine and Fresh Widow, discussing their creation, context, and enduring impact on the art world.
La Fontaine (1917)
In 1917, Duchamp bought a urinal, turned it upside down, signed it “R. Mutt”, called it Fountain, and submitted it to the society of independent artists’ exhibition, which he co-funded, but he did not submit it under his own name.
So, let’s see what he did here. He deliberately picked the most unattractive object to challenge the ideas of beauty and to both test and mock the Society of Independent Artists, even though he was a leading figure amongst them. This man was a master of the art of provocation.
Duchamp tried to prove that art depends on the intention of the artists. In fact, he declared that it was the artist’s conscious choice that made a “ready-made” into a work of art. The viewer’s process of looking, thinking, and reacting to the work also defines art.
Despite his philosophy, however, the work was rejected, sparking a controversy that highlighted the subjective nature of art criticism. La Fontaine challenged the art world by questioning what constitutes art. It’s suggested that art is defined not by craftsmanship or beauty, but by the artist’s intention and context. We can recognize Duchamp’s irony, humour, and intellectual engagement. Today, this work is considered a precursor to conceptual art and his most famous ready-made.
Fresh Widow (1920)
Fresh Widow was created in 1920. This work is a small, hinged French window with panes covered in black leather.
The title is a pun on “French window” and “fresh widow”, reflecting Duchamp’s love for linguistic play.
This window, built in miniature by Duchamp and signed by his female alter-ego Rose Sélavy, is indeed a blind window, opening onto no landscape, no fictional space. But beyond the play on words, it is the conception of a “window open onto the world” that is questioned as this window is open to nothingness and the abyss.
The black leather of course suggests themes of loss, mourning, and concealment, further explaining the widow in the title.
What’s interesting to note is that this specific work combines readymade and handcrafted elements, as the window is a pre-constructed object, but the leather panes are added by Duchamp.
This piece was generally well-received by the avant-garde community and influenced subsequent art movements by highlighting the power of titles and context in shaping the interpretation of an artwork.
Duchamp may be controversial, but his influence on contemporary art was nevertheless profound. Despite my love for renaissance, baroque and impressionist art, I truly believe that artists like Duchamp are necessary every century or so, as they inspire others to innovate and to question their prejudices about art. I would describe his work as refreshing, above all else, and would argue that his individual works are not what is important when compared to the philosophy and ideas he pushed forward using them. His provocative creations deeply helped kickstart the switch towards modern art.