![]() ![]() I have no evidence as to what alerted Duchamp to the value of collotype over other mediums: it certainly was not a process widely used by his contemporaries or, for that matter, many fine artists since. On the other hand, collotype had a proven ability to print in continuous tone without the aid of halftone screen, thus offering photographic accuracy in fully permanent ink on a wide range of paper stocks. Additionally, the range of colour offered by halftone printing, particularly in that era, was invariably flawed when compared to the original. Although a convincing illusion of photographic tone could be created by breaking an image up into fine halftone dots, the choice of paper on which this kind of fidelity could be achieved was limited. To explain how collotype was able to achieve this, a look at the main method for rendering tone in print throughout the twentieth century reveals that, apart from collotype, all other printing processes were based on the halftone method. Although all of these were able to produce reasonably convincing simulations of photographs and artworks for book and magazine illustration, Duchamp appears to have recognised that collotype, more than any other process, had the ability to transfer visual information accurately, with the least amount of distortion. In Paris Duchamp would have had the option of reproducing his notes photomechanically in any of the popular mediums, the main ones being halftone letterpress, offset lithography and rotogravure. By the 1930s commercial printing had become increasingly sophisticated. To assess the significance of Duchamp’s choice of printing medium, it is necessary to consider the range of printing processes available at the time. Throughout his career Duchamp frequently drew on his print-based sensibilities to produce layouts for publications such as the 1922 Some French Moderns Says McBride and journals associated with the surrealist movement such as Minotaure and View. During this time he obtained practical experience in both typesetting and the reproduction of fine art – in this case, his artist grandfather’s etchings. ![]() In 1905 Duchamp himself was to gain exemption from military service by working as a commercial printer in his hometown of Rouen. Jacques Villon was to become a successful printmaker and illustrator, distinguished for his technical and expressive skills in etching engraving and lithography. Both Gaston and Jacques, Marcel’s elder brothers learnt the rudiments of etching from their grandfather before studying art in Paris. #Typo light boxes seriesHe was to gain the distinction of having several series of his prints purchased by the Louvre. Emile Nicolle – Duchamp’s maternal grandfather – had become on his retirement a skilled etcher and engraver. Here, as with many other aspects of his practice, Duchamp was a pioneer: the use of photomechanical print as a creative medium did not significantly enter the realm of fine-art printmaking until the late-1950s and early 1960s.ĭuchamp was well placed to make such innovations, having more than a passing interest in the theoretical and practical underpinnings of both commercial and fine art print. The main element, however, that set the work apart from other fine art print works of the time was its use of photomechanical, instead of the traditionally sanctioned autographic, printing methods. ![]() The quality of the paper stocks and inks were integral to the success of the work, and although not actually printed by the artist himself, Duchamp closely supervised all aspects of production. It was produced in a printing medium carefully chosen by the artist to best convey the conceptual aims of the piece. When viewed in this context, however, it is evident that the work bears many of the common hallmarks of a twentieth-century artist’s print publication. As well as being perceived as a kind of literary publication, the Green Box, as it has become known, can be – but seldom is – classified as a work of art in fine print. In 1934 Marcel Duchamp – or more accurately his alter ego Rrose Sélavy – published in green felt covered boxes ninety-four loose notes relating to the development and function of his magnum opus The Bride Stripped Bare by her Bachelors Even, known familiarly as ‘ The Large Glass’ (figs.1, 2). ![]()
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