Marcel Duchamp and Max Ernst: The Bride Shared by David HopkinsMarcel Duchamp and Max Ernst: The Bride Shared by David Hopkins

Marcel Duchamp and Max Ernst: The Bride Shared

byDavid Hopkins

Hardcover | May 1, 1998

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David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealismin Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive to the troubled nature of their times. Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the socialconstruction of gender and notions of ordering and taxonomy. This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.
David Hopkins is at University of St Andrews.
Title:Marcel Duchamp and Max Ernst: The Bride SharedFormat:HardcoverDimensions:230 pages, 10.87 × 8.62 × 0.94 inPublished:May 1, 1998Publisher:Oxford University Press

The following ISBNs are associated with this title:

ISBN - 10:0198175132

ISBN - 13:9780198175131

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impresssive study .../ copiously illustrated and pleasingly annotated.../ For any reader wishing to deepen their knowledge of these particular paintings the book is a welcome shake-up of more canonical readings. Dr Hopkins finely spun theoretical framework - dancing as it does fromRosicrucianism to Dutch Symbolism to Descartes and back again - sometimes veers toward hermeticism itself, but nonetheless opens unexpected new prospects on the four central works./ A.A., Art Newspaper, July-Aug 1999.