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Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . )
Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946-66
Marcel Duchamp, American (born France)
Mixed media assemblage: (exterior) wooden door, iron nails, bricks, and stucco; (interior) bricks, velvet, wood, parchment over an armature of lead, steel, brass, synthetic putties and adhesives, aluminum sheet, welded steel-wire screen, and wood; Peg-Board, hair, oil paint, plastic, steel binder clips, plastic clothespins, twigs, leaves, glass, plywood, brass piano hinge, nails, screws, cotton, collotype prints, acrylic varnish, chalk, graphite, paper, cardboard, tape, pen ink, electric light fixtures, gas lamp (Bec Auer type), foam rubber, cork, electric motor, cookie tin, and linoleum
95 1/2 x 70 x 49 inches (242.6 x 177.8 x 124.5 cm)
Gift of the Cassandra Foundation, 1969
1969-41-1
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building
Marcel Duchamp: Étant donnés
August 15, 2009 - November 29, 2009
Marcel Duchamp’s enigmatic assemblage Étant donnés: 1. La chute d’eau, 2. Le gaz d’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas) has been described by the artist Jasper Johns as “the strangest work of art in any museum.” Permanently installed at the Museum since 1969, this three-dimensional environmental tableau offers an unforgettable and untranslatable experience to those who peer through the two small holes in the solid wooden door.

Celebrating the 40th anniversary of its public unveiling, Marcel Duchamp: Étant donnés situates the extraordinary assemblage within the context of almost 100 related works of art, including all of its known studies and related materials, including books, photographs, and works on paper. Duchamp also made a number of “erotic objects,” small-scale sculptures that directly relate to the casting process of the female nude in Étant donnés. This exhibition brings these known works together with more than twenty previously unknown sculptures and studies. These unpublished works include erotic objects, body casts, prints, and notes, as well as over seventy Polaroid photographs taken by Duchamp of Étant donnés in his New York studio that provide the missing link in our understanding of the origins and evolution of Duchamp’s final masterwork. These Polaroids are shown alongside a series of photographs of the artist’s final studio at 80 East 11th Street, taken by a friend, Denise Brown Hare, following Duchamp’s death in 1968, which document Étant donnés before it was disassembled and moved to Philadelphia. The exhibition is drawn largely from the collections and archives of the Museum, and supplemented by loans from public and private collections in the United States, France, Germany, Sweden, and Israel. The accompanying 448-page catalogue explores the history and reception of Duchamp’s final masterpiece, as well as its legacy for contemporary artists such as Ray Johnson, Hannah Wilke, Robert Gober, and Marcel Dzama.

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This exhibition is dedicated to the memory of the late Anne d'Harnoncourt, the Museum's George D. Widener Director and C.E.O., who passed away on June 1, 2008. D'Harnoncourt was a respected Duchamp scholar who, as a 25-year old curatorial assistant, oversaw the painstaking installation of Étant donnés... at the Philadelphia Museum of Art, along with the artist's widow Alexina "Teeny" Duchamp and his step-son Paul Matisse. In 1973 she co-organized, with Kynaston McShine, the Marcel Duchamp Retrospective exhibition at the Philadelphia Museum of Art, which later traveled to the Museum of Modern Art, New York, and the Art Institute of Chicago. Throughout her career, d'Harnoncourt sought to shed new light on Duchamp's enigmatic final masterwork and offered early enthusiasm and steadfast support for this exhibition project and its related catalogue, both of which she was looking forward to seeing and reading with eager anticipation.

Sponsors

This exhibition and publication are generously supported by The Women’s Committee of the Philadelphia Museum of Art, with additional funding from Mr. and Mrs. Aaron M. Levine and The John and Lisa Pritzker Family Fund. The catalogue was also made possible by The Andrew W. Mellon Fund for Scholarly Publications.

Curator

Michael R. Taylor • The Muriel and Philip Berman Curator of Modern Art

Location

Galleries 181–183, first floor
 

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