New PDF release: American Art in the 20th Century - Painting and Sculpture,

By Christos M. Joachimides, David Anfam, Norman Rosenthal

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But his plumbing trap in a mitre box, entitled God, made ciirn 191 8, just before his death in the influenza epidemic in Philadelphia, was surely inspired by Duchamp's ready-mades. John Covert, a cousin of Arensberg, took over certain stylaspects of Duchamp's work while avoiding its deeper meaning. -ass Band of istic 19 1 9 (Cat. 32) he derived the patterning, the outward thrust of circular forms and the Duchamp's Chocolate Grinder, a version of which was incorporated within The Large Glass. " art were thus eliminated.

Pp. 40-3. See Man,' Gedo, Maniare Daivson, exhibition catalogue, Chicago, Museum of ContemporArt, 1976. In 1908, because of a rise in the rent, Stieglitz moved from 291 Fifth Avenue across the hall ar\- 7- to 293. The wall was removed, and one elevator was used for the two buildings. Stieglitz, though, continued to use the name which he found more euphonious. William I. Homer, Alfi-ed Stieglitz. and the American Avant-Garde, New York, 1977, '291', 8. p. 165. 9. 10. , Alfred 268. Stieglitz-: A Collective Pottrait, NT, 1934, pp.

Early Modernism 43 Marcel Diichamp V Studio, 55 191 7-1 33 West 67 New-York ih (191718 f, 2l £ ^ -J Both Duchamp and Picabia passed from Cubist had become clearly Dadaist portraits', in ICI. CEST FOI 1CI which in flavour. fantastic or real st\'les to a vision which, That year Picabia did machines a series by 19 15, of 'machine portable lamp, a sparking plug, and (a STIEGLITZ so forth) alluded to specific people through the appropriateness of the machine to ET AMOUB their personalit}' or vocation.

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American Art in the 20th Century - Painting and Sculpture, 1913-1993 by Christos M. Joachimides, David Anfam, Norman Rosenthal

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