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HandWiki. Fountain (Duchamp). Encyclopedia. Available online: https://encyclopedia.pub/entry/36761 (accessed on 03 October 2026).
HandWiki. Fountain (Duchamp). Encyclopedia. Available at: https://encyclopedia.pub/entry/36761. Accessed October 03, 2026.
HandWiki. "Fountain (Duchamp)" Encyclopedia, https://encyclopedia.pub/entry/36761 (accessed October 03, 2026).
HandWiki. (2022, November 28). Fountain (Duchamp). In Encyclopedia. https://encyclopedia.pub/entry/36761
HandWiki. "Fountain (Duchamp)." Encyclopedia. Web. 28 November, 2022.
Fountain (Duchamp)
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The content is sourced from: https://handwiki.org/wiki/Engineering:Fountain_(Duchamp)

Fountain is a readymade sculpture produced by Marcel Duchamp in 1917: a porcelain urinal signed "R.Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was rotated 90 degrees on its axis and submitted for an exhibition of the Society of Independent Artists, the first annual exhibition by the Society to be staged at The Grand Central Palace in New York. Fountain was not rejected by the committee but it was removed from the show area, since Society rules stated that all works would be accepted from artists who paid the fee. Following that removal, Fountain was photographed at Alfred Stieglitz's studio, and the photo published in The Blind Man. The original has been lost. The work is regarded by art historians and theorists of the avant-garde as a major landmark in 20th-century art. Sixteen replicas were commissioned by Duchamp in the 1950s and 1960s and made to his approval. Some scholars have suggested that the original work was by a female artist rather than Duchamp, but this is a minority view among historians.

urinal sculpture fountain

References

  1. Gaffney, Peter D, "Demiurgic machines: The mechanics of New York Dada. A study of the machine art of Francis Picabia, Marcel Duchamp, and other members of New York Dada during the period, 1912–1922" (2006). Dissertations available from ProQuest. AAI3211072. https://repository.upenn.edu/dissertations/AAI3211072
  2. Hopkins, David, Marcel Duchamp and Max Ernst: The Bride Shared, Volume 21 of Clarendon studies in the history of art, Clarendon Press, 1998, p. 74, ISBN:0198175132 https://books.google.es/books?isbn=0198175132
  3. Biro, Matthew, The Dada Cyborg: Visions of the New Human in Weimar Berlin, G - Reference,Information and Interdisciplinary Subjects Series, University of Minnesota Press, 2009, p. 27, ISBN:0816636192 https://books.google.es/books?isbn=0816636192
  4. Catalogue of the First Annual Exhibition of the Society of Independent Artists https://archive.org/stream/catalogueannual00yorkgoog#page/n6/mode/2up
  5. Sue Roe, In Montparnasse: The Emergence of Surrealism in Paris, from Duchamp to Dali, Penguin UK, Jun 21, 2018, ISBN:0241976596 https://books.google.es/books?isbn=0241976596
  6. Cabanne, P., & Duchamp, M. (1971). Dialogues with Marcel Duchamp https://books.google.es/books?id=4SNKDgAAQBAJ&pg=PT14
  7. Philippe Dagen, Duchamp piège l'avant-garde, Le Monde, 17 August 2006 (French) https://www.lemonde.fr/ete-2007/article/2006/08/17/duchamp-piege-l-avant-garde_804171_781732.html
  8. Tomkins, Duchamp: A Biography, p. 181.
  9. Saltz, Jerry (2006-02-21). "Idol Thoughts: The glory of Fountain, Marcel Duchamp's ground-breaking 'moneybags piss pot'". The Village Voice. http://www.villagevoice.com/art/0609,200859,200859,13.html 
  10. Cabanne, Dialogs with Marcel Duchamp, p. 55
  11. Unsigned review, "His Art Too Crude for Independents", The New York Herald, 14 April 1917 (cited in Camfield, 1989, op.cit., 27)
  12. Dalia Judovitz, Unpacking Duchamp: Art in Transit, University of California Press, 1998, ISBN:0520213769 https://books.google.es/books?isbn=0520213769
  13. The Blind Man, Vol. 2, 1917, p. 5. http://sdrc.lib.uiowa.edu/dada/blindman/index.htm
  14. Tomkins, Duchamp: A Biography, p. 185.
  15. Guillaume Apollinaire, Le Cas de Richard Mutt, Mercure de France, 16 June 1918, Gallica, Bibliothèque nationale de France. https://gallica.bnf.fr/ark:/12148/bpt6k201820t/f194.item
  16. Hubregtse, Menno (2009). "Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada". Revue d'art canadienne/Canadian Art Review 34 (2): 28–42. 
  17. Quoted in Hubregtse, "Robert J. Coady's The Soil and Marcel Duchamp's Fountain," 32
  18. "Fountain, Marcel Duchamp, 1917, replica, 1964". Tate. https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573. Retrieved 5 October 2018. 
  19. Camfield, William A. (1989). Marcel Duchamp, Fountain. Houston, TX: Houston Fine Art Press. pp. 183. ISBN 0939594102. http://lccn.loc.gov/87028248. 
  20. Gammel, Irene (2002). Baroness Elsa: Gender, Dada, and Everyday Modernity. Cambridge: The MIT Press. pp. 222-227. ISBN 0-262-07231-9. 
  21. Marcel Duchamp, Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp, ed. Francis M. Naumann and Hector Obalk (Ghent: Ludion Press, 2000), p. 47
  22. Robert Reiss, "My Baroness: Elsa von Freytag-Loringhoven" in New York Dada, edited by Rudolf E. Kuenzli (New York: Willis Locker & Owens, 1986), pages 81-101.
  23. David M. Lubin, Grand Illusions: American Art and the First World War, Oxford University Press, 2016, ISBN:0190218622 https://books.google.es/books?isbn=0190218614
  24. Francis M. Naumann, New York Dada, 1915-23 (New York: Harry N. Abrams, 1994), p. 239, note 17.
  25. Quoted in Gayford, Martin (16 February 2008). "The practical joke that launched an artistic revolution". The Daily Telegraph (London): p. 10 at 11. https://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html. 
  26. Franklin Clarkin, "Two Miles of Funny Pictures," Boston Evening Transcript, 25 April 1917.
  27. William A. Camfield, Marcel Duchamp's Fountain, Its History and Aesthetics in the Context of 1917 (Part 1), Dada/Surrealism 16 (1987): pp. 64-94. http://www.golob-gm.si/5-marcel-duchamp-as-rectified-readymade/f-marcel-duchamp-fountain.htm#FNanchor_17
  28. Essay on Fountain http://arthist.binghamton.edu/duchamp/fountain.html
  29. See Praeger, Dave (2007). Poop Culture: How America is Shaped by its Grossest National Product. Los Angeles, Calif.: Feral House. ISBN 1-932595-21-X. 
  30. Hicks, Stephen R. C. (2004). Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault. Tempe, AZ: Scholargy Press. p. 196. ISBN 1-59247-646-5. https://books.google.com/books?id=oxOTMZD_fecC&pg=PA196. 
  31. Tomkins, Duchamp: A Biography, p. 186.
  32. Francis M. Naumann, Beth Venn, Making mischief: Dada invades New York, Harry N. Abrams, Whitney Museum of American Art, 1997, p. 20.
  33. "Duchamp's urinal tops art survey". BBC News. 1 December 2004. http://news.bbc.co.uk/2/hi/entertainment/4059997.stm. Retrieved 5 October 2018. 
  34. Hensher, Philip (20 February 2008). "The loo that shook the world: Duchamp, Man Ray, Picabia". The Independent (London): pp. 2–5. https://www.independent.co.uk/arts-entertainment/art-and-architecture/features/the-loo-that-shook-the-world-duchamp-man-ray-picabi-784384.html. 
  35. Marquis, Marcel Duchamp: The Bachelor Stripped Bare A Biography, p. 5.
  36. "Kendell Geers- Conceptual Artist". http://www.onepeople.com/archive/html/geers2.html. Retrieved 5 October 2018. 
  37. Blacklock, Mark (26 June 2003). "Art attacks". The Daily Telegraph. https://www.telegraph.co.uk/culture/art/3597350/Art-attacks.html. Retrieved 9 May 2013. 
  38. Årets största konsthändelse http://hem.passagen.se/gkrantz/ett/artiklar/kjell.html
  39. "Tate focus for artistic debate". Press Association (referred to on the website of the Humanities Advanced Technology & Information Institute, University of Glasgow). 21 May 2000. Archived from the original on 21 December 2002. https://web.archive.org/web/20021221052306/http://www.hatii.arts.gla.ac.uk/MultimediaStudentProjects/00-01/9704524l/MM%20Project/Html/badly3.htm. Retrieved 17 February 2008. 
  40. "Pierre Pinoncelli: This man is not an artist" at infoshop.org http://news.infoshop.org/article.php?story=20060212191356996
  41. "Man held for hitting urinal work". BBC News. 6 January 2006. http://news.bbc.co.uk/1/hi/world/europe/4587988.stm. Retrieved 5 October 2018. 
  42. Revue Internationale du Droit d'Auteur, Issues 197-198, Association française pour la diffusion du droit d'auteur national et international, 2003, p. 30.
  43. Winthrop Sargeant, Dada's Daddy, A new tribute is paid to Duchamp, pioneer on nonsense and nihilism, Life, 28 April 1952, pp. 100–111 https://books.google.es/books?id=V1YEAAAAMBAJ&pg=PA100&source=gbs_toc_r&redir_esc=y#v=onepage&q&f=false
  44. Girst, Thomas (April 2003). "(Ab)Using Marcel Duchamp: The concept of the Readymade in post-War and contemporary American art". Tout-fait: the Marcel Duchamp Studies Online Journal (5). http://www.toutfait.com/issues/volume2/issue_5/articles/girst2/girst1.html 
  45. Alan Young, Dada and After: Extremist Modernism and English Literature, Manchester University Press, 1983, p. 202, ISBN:071900943X https://books.google.es/books?isbn=071900943X
  46. Duchamp, in Hans Richter, Dada: Art and Anti-Art, New York, McGraw Hill, 1965: pp. 207-208.
  47. Hans Richter, Begegnungen von Dada bis Heute, Köln, DuMont: pp. 155ff.
  48. Rosalind Constable, New York’s Avant-garde, and How It Got There, cited in Jennifer Gough-Cooper and Jacques Caumont, Ephemerides on and about Marcel Duchamp and Rrose Sélavy, 1887-1968, in Pontus Hulten, ed., Marcel Duchamp, Cambridge, MIT Press, 1993, entry for May 17, 1964.
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