This single-file export merges two internal “templates”:
Dataset: Readymades and
Illustrations Index. It organizes empirical object data and illustration groupings from: Rhonda Roland Shearer, Gregory Alvarez, Robert Slawinski, Vittorio Marchi (textbox by Stephen Jay Gould),
“Why the Hatrack is and/or is not Readymade,” Tout‑Fait (2000; updated 2019).
Figures cited as “Illustration x / xA–xF” refer to that essay. This page is intended as a neutral, structured reference; analysis claims are attributed to the Tout‑Fait essay unless otherwise noted. 2A–F; 10–11A–C; 14A–E; 15A–B; 17–18A 23A–E; 23F–I; 24A–C; 30–31A–B; 32A–C 34A–H; 35A–E; 36A–E; 37A–D; 38A–B; 39A; 40A–F; 41–43; 45; 46–47 Click the anchor links to jump to the associated dataset sections above. Rhonda Roland Shearer; Gregory Alvarez; Robert Slawinski; Vittorio Marchi; textbox by Stephen Jay Gould (2000; updated 2019). “Why the Hatrack is and/or is not Readymade: With Interactive Software, Animations, and Videos for Readers to Explore.” Tout‑Fait. Figures referenced throughout: 1; 2A–F; 3A–B; 4A–C; 5–6; 7A–D; 8A; 9; 10–11; 12A–D; 13A–C; 14A–E; 15A–B; 16A–B; 17–18; 19A–B; 20A–C; 21A–B; 22A–C; 23A–E; 23F–I; 24A–C; 25A–B; 26A–B; 27–32; 33A–B; 34A–H; 35A–E; 36A–E; 37A–D; 38A–B; 39A; 40A–F; 41A–D; 42A–D; 43A–C; 44A–B; 45A–C; 46A–C; 47A–B; 48; 49A–D; 50A–B; 51A–G; 52A–F; 53–54A–C; 54D; 55; 56A–B; 57A–C; 59–60; 61–62.Duchamp Readymades — Combined Empirical Dataset
Overview
Hatrack (1916–18; 1964)
Summary
Illustrations (key)
Timeline of representations — as seen by spectators
Year (seen) Representation Medium / type Notes (per Shearer) Illustrations
1918 Tu m’ (detail) 2D painted shadow
2 long + 3 short hooks in shadow (inverted reading) 2A; 15A
1918 (photo) Ombres portées (Cast Shadows) 2D photographed shadow
3 long + 2 short; ambiguous pairings 2B; 17; 18A
1941 Boîte‑en‑valise print (from studio) 2D print
Retouched from 1916–17 studio photo 2C; 10
1960s (made 1916–17) Studio photograph (found later) 2D photograph
Altered studio view used for comparisons —
1964 Workshop drawing 2D blueprint
Traced/ambiguous; odd “separate” short hook; 2 long + 3 short 2E; 11A–C
1964 (seen 1991) Schwarz edition (2nd version) 3D wood model (ed. of 8)
6 equal hooks, radial symmetry; carved, not bentwood 2F; 14A
Observations
Trébuchet (Coatrack) — 1917; 1964
Summary
Illustrations (key)
Timeline of representations — as seen by spectators
Year (seen) Representation Medium / type Notes (per Shearer) Illustrations
1941 Boîte‑en‑valise print 2D print
Retouched from studio photograph 23A; 23E
1960s (made 1916–17) Studio photograph (found later) 2D photo
Hooks lean backward; non‑uniform geometries 23B; 24C
1964 Schwarz edition 3D iron & wood
Straighter hooks; wood base proportions differ from studio 23C
1983 (made 1940) “Working print” (Ecke Bonk) 2D print
Paper cut‑out over masked studio background; compositing matrix 23D; 32A–C
1991 (made 1964) Blueprint published 2D blueprint
Iron specified; differs from studio geometry 23E
Observations
Fountain (1917; 1964)
Summary
Illustrations (key)
Timeline of representations — as seen by spectators
Year (seen) Representation Medium / type Notes (per Shearer) Illustrations
1917 Stieglitz photo in The Blind Man No. 2 2D photograph
Likely composite; drain‑hole “patch,” top/bottom perspective discontinuity; scale anomalies 34A; 38A–B; 40A–C
1941 Boîte‑en‑valise miniature 3D model
First 3D snapshot 34B
1941 Boîte print from studio photo 2D print
From 1916–17 studio image 34C
1960s (made 1916–17) Studio photo (found later) 2D photograph
Used in tests vs. Bedfordshire type 34D; 35B–E
1964 An Original Revolutionary Faucet: Mirrorical Return 2D etching
Trace over Stieglitz with extra perspective piece (diagnostic) 34E; 46A–C; 47A–B
1964 Schwarz edition (2nd corrected) 3D pottery (ed. of 8)
First workshop model (from blueprints) lost 34F
1964 Engineering drawings 2D blueprints
Two sides + plan; basis for lost first model 34G
1989 (found 1950s) Partial Stieglitz negative/print (Camfield) 2D fragment
Used to model compositing “steps” 34H; 37A–D; 39A
Observations
Bicycle Wheel (with Stool) — 1913; 1916–17; 1964
Summary
Key empirical notes
In Advance of the Broken Arm (Snow Shovel) — 1915; 1964
Summary
Key empirical notes
Illustrations Index (internally linked)
Illustration no. (set) Subject / caption (short) Linked dataset anchor(s) Notes 1 Note from the Green Box (1934) Hatrack Readymade timing/seriality 2A–F Hatrack time‑series Hatrack timeline Six “snapshots” 3A–B; 4A–C White Box diagrams & application Hatrack Mental operations framing method 7A–D; 8A; 9; 10 Thonet hatracks & wireframe Hatrack · Thonet Comparandum for Hatrack 11A–C Hatrack blueprint overlay Hatrack timeline Drafting anomalies 14A–E Schwarz Hatrack & Thonet standing rack Hatrack Carved vs. bentwood “S” 15A–B Tu m’ vs. Thonet Hatrack Shadow fragments 17; 18A–B Ombres portées; With Hidden Noise Hatrack Composite/mirror cue 23A–E Coatrack time‑series Coatrack timeline Five “snapshots” 23F–I; 30; 31A–B Photo fakery diagnostics Coatrack Perspective tests; fluffy edges 24A–C Historical hooks vs. Schwarz base Coatrack Non‑coincident geometries 32A–C Boîte working print & analysis Coatrack “Smoking gun” for compositing 34A–H Fountain time‑series Fountain timeline Eight items → 10 “snapshots” 35A–E; 36A–E Bedfordshire comparanda; match attempts Fountain Stieglitz view resists single‑view 37A–D; 38A–B; 39A Composite tests; The Blind Man; partial Stieglitz Fountain Compositing “steps” hypothesis 40A–F Drain‑hole patch; catalog engravings Fountain Patch edge; molded edges context 41A–D; 42A–D Black‑ground method examples Fountain Masking/transfer silhouette 43A–C Urinal animation analyses Fountain Divergent “top vs. bottom” perspectives 45A–C Tag/scale; hanging “against gravity” Fountain Scale anomalies; feasibility 46A–C; 47A–B Etching overlay & animation Fountain “Multi‑view” signal (1964) 12A–D Bicycle Wheel: print; blueprint; studio; edition Bicycle Wheel Blueprint vs. edition symmetry 16A–B Bicycle Wheel: decentered axis Bicycle Wheel Rotation effect 13A–C Snow Shovel: photo; blueprint; models Snow Shovel Perspective convergence 49A–D; 51A–G; 50A–B Large Glass / Chocolate Grinder Hatrack · Coatrack · Fountain Shared “multi‑view” method 55; 56A–B; 57A–C; 59–60 Rotoreliefs; stereo pairs; Wanted Poster; 4D note — Optical context for fusion 62 Picasso, Violin and Grapes — Cubist alternative References
Primary empirical source
General references (context & verification)
<!-- ================================ Template:DuchampReadymadesData Combined empirical dataset for Duchamp readymades and related works Source of empirical claims, figure numbering, and illustration groupings: Rhonda Roland Shearer et al., “Why the Hatrack is and/or is not Readymade…”, Tout-Fait (2000; upd. 2019). This template aggregates object data for items explicitly analyzed or referenced in the essay. ================================ --> <noinclude> This template presents combined, internally-linked datasets for Duchamp readymades documented in the Tout‑Fait essay (Shearer et al.). Use together with: Template:ShearerIllustrationsIndex. * **Scope:** Hatrack; Trébuchet (Coatrack)]]; Fountain; Bicycle Wheel (with Stool); In Advance of the Broken Arm (Snow Shovel). * **Related / comparative works:** *Tu m’*; *Ombres portées (Cast Shadows); *A bruit secret* (With Hidden Noise); *Rotative plaques de verre*; *Rotoreliefs*; *Wanted Poster*; *The Large Glass*; *Chocolate Grinder*; *Green Box*; *White Box*; *The Blind Man* No. 2; Thonet hatrack; etc. * **Figures:** See Template:ShearerIllustrationsIndex for an index of Illustration nos. (2A–F, 34A–H, etc.) with links back into anchors below. </noinclude> == Readymades (empirical datasets) == === Hatrack (1916–18; 1964) === {{Anchor|hatrack}} ; Summary * **Artist:** Marcel Duchamp (1887–1968) * **Common title(s):**Hatrack (also “Readymade” in 1941 Boîte entry) * **Original:** 1916–17 (lost) * **Status:** Known via 6 “snapshots” (5×2D, 1×3D) * **Key claim (per Shearer):** Six depictions diverge (hook counts/curvatures vary); blueprint vs. 3D edition vs. 2D photos do not converge to one mass-produced model. ; Timeline of representations — as seen by spectators {| class="wikitable sortable" ! Year (seen) !! Representation !! Medium / type !! Notes (per Shearer) !! Illus. |- | 1918 || *Tu m’* (detail) || 2D painted shadow || 2 long + 3 short hooks in shadow (inverted reading) || 2A; 15A |- | 1918 (photo) || *Ombres portées* (Cast Shadows) || 2D photographed shadow || 3 long + 2 short hooks; ambiguous pairings || 2B; 17; 18A |- | 1941 || Boîte-en-valise print (from studio) || 2D print || Retouched from 1916–17 studio photo; 2 long + 3 short || 2C; 10 |- | 1960s (made 1916–17) || Studio photograph (found later) || 2D photo || Altered studio view used for comparisons || – |- | 1964 || Workshop drawing || 2D blueprint || Traced/ambiguous; odd “separate” short hook; 2 long + 3 short || 2E; 11A–C |- | 1964 (seen 1991) || Schwarz edition (2nd version) || 3D wood model (ed. of 8) || 6 equal hooks, radial symmetry; carved, not bentwood || 2F; 14A]] |} ; Observations * Hook number, lengths, and curvatures vary across the six depictions; a single 3D form cannot be reconstructed from the set. * **Blueprint vs. edition:** 1964 blueprint (signed “okay, Marcel Duchamp”) does not match Schwarz’s final 3D form; first 3D version reportedly rejected. * **Comparandum:** 1904 Thonet bentwood hatrack (#11022) is the closest historical type but does not match any single depiction. (See also {{Anchor|works-thonet}} Thonet entry.) ---- ### Trébuchet (Coatrack) — 1917; 1964 {{Anchor|coatrack}} ; Summary * **Artist:** Marcel Duchamp * **Title:** ''Trébuchet'' (Coatrack) * **Original:** 1916–17 studio coatrack (photo); “nailed to floor” anecdote * **Status:** Known via 5 “snapshots” (4×2D, 1×3D) {{Anchor|coatrack-timeline}} ; Timeline of representations — as seen by spectators {| class="wikitable sortable" ! Year (seen) !! Representation !! Medium / type !! Notes (per Shearer) !! Illus. |- | 1941 || Boîte-en-valise print || 2D print || Retouched from studio photograph || 23A; 23E |- | 1960s (made 1916–17) || Studio photograph (found later) || 2D photo || Hooks lean backward; non-uniform geometries || 23B; 24C |- | 1964 || Schwarz edition || 3D iron & wood model || Straighter hooks; wood base proportions differ from studio || 23C |- | 1983 (made 1940) || “Working print” (Ecke Bonk) || 2D print || Paper cut-out of coatrack over masked background; “smoking gun” for compositing method || 23D; 32A–C |- | 1991 (made 1964) || Blueprint published || 2D blueprint || Iron specified; differs from studio geometry || 23E |} ; Observations * **Impossibility:** Final sub-hook bends cannot occur in cast iron without breaking (contradicting “kicked around” reading if taken as literal deformation in a single object/photo). * **Compositing evidence:** Fluffy cut edges, mismatched perspectives across hooks; “working print” shows separate masking of board vs. hooks consistent with photo assembly. ---- ### Fountain (1917; 1964) {{Anchor|fountain}} ; Summary * **Artist:** Marcel Duchamp * **Title:** ''Fountain'' * **Original:** 1917 urinal (lost) * **Status:** Known via 10 “snapshots” (8×2D, 2×3D) * **Key claim (per Shearer):** Two distinct urinals represented in 1917; Stieglitz image likely a composite. {{Anchor|fountain-timeline}} ; Timeline of representations — as seen by spectators {| class="wikitable sortable" ! Year (seen) !! Representation !! Medium / type !! Notes (per Shearer) !! Illus. |- | 1917 || Stieglitz photo in ''The Blind Man'' No. 2 || 2D photograph (publication) || Likely composited; drain-hole “patch,” scale anomalies, top/bottom perspective discontinuity || 34A; 38A–B; 40A–C |- | 1941 || Boîte-en-valise miniature || 3D model (miniature) || First 3D snapshot || 34B |- | 1941 || Boîte print from studio photo || 2D print || From 1916–17 studio image || 34C |- | 1960s (made 1916–17) || Studio photo (found later) || 2D photograph || Used in comparanda tests vs. Bedfordshire type || 34D; 35B–E |- | 1964 || ''An Original Revolutionary Faucet: Mirrorical Return'' || 2D etching || Tracing over Stieglitz + extra perspective part (diagnostic) || 34E; 46A–C; 47A–B |- | 1964 || Schwarz edition (2nd corrected) || 3D pottery, ed. of 8 || First workshop model (from blueprints) lost; second authorized || 34F |- | 1964 || Engineering drawings || 2D blueprints || Two sides + plan; basis for lost first model || 34G |- | 1989 (found 1950s) || Partial Stieglitz negative/print (Camfield) || 2D fragment || Used to model compositing “steps” || 34H; 37A–D; 39A |} ; Observations * **Comparanda:** Trenton Potteries “Bedfordshire (with lip)” best match for studio photos, not for Stieglitz print (which resists single-view reconstruction). * **Compositing cues:** Black-ground method behind urinal in studio; inconsistent scales (tag, string, plinth), drain-hole patch boundary under contrast; misaligned perspectives. * **Edition constraint:** Schwarz unable to source mass-produced prototypes; editions newly manufactured (consistent with broader Shearer findings). ---- ### Bicycle Wheel (with Stool) — 1913 (orig. lost); 1916–17 (2nd version, lost); 1964 {{Anchor|bicycle-wheel}} ; Summary * **Artist:** Marcel Duchamp * **Title:** ''Roue de bicyclette'' (Bicycle Wheel) * **Status:** Originals lost; known via studio photos, Boîte print, 1964 blueprint, 1964 edition of 8. ; Key empirical notes (per Shearer) * 1964 blueprint ambiguities (legs/rails misread from 1941 Boîte print); final edition regularizes symmetry beyond blueprint depiction. (Illus. 12A–D) * ASRL 3D model tests of 1916–17 wheel set indicate **decentered axis** (non-central hub), producing visible effects when rotated. (Illus. 16A–B) ---- ### In Advance of the Broken Arm (Snow Shovel) — 1915; 1964 {{Anchor|snow-shovel}} ; Summary * **Artist:** Marcel Duchamp * **Title:** ''In Advance of the Broken Arm'' * **Status:** Analyzed via 1964 blueprint and Schwarz edition. ; Key empirical notes (per Shearer) * 1964 blueprint likely traced from Man Ray photo shot from below; **un‑corrected perspective convergence** of shaft translated into a thinner, smaller physical model (vs. measured edition example). (Illus. 13A–C) ---- == Related / comparative works referenced == ; Analytical comparanda & contexts (used in tests or claims) {{Anchor|works-thonet}} {| class="wikitable" ! Work / object !! Artist / maker !! Date !! Type / role in essay !! Key tie to empirical sections !! Illus. |- | Thonet hatrack (style #11022; wall unit) || Thonet Bros. || 1904 || Design comparandum for Hatrack || Closest historical type; 3 “S” modules; wall-mounted || 7A–D; 8A; 9; 15B |- | *Tu m’* (hatrack shadow) || Marcel Duchamp || 1918 || Painting (shadow of hatrack) || 2 long + 3 short hooks; compared to Thonet/Hatrack || 2A; 15A |- | *Ombres portées* (Cast Shadows) || Marcel Duchamp || 1918 || Photograph (studio shadows) || Hatrack shadow with 3 long + 2 short; *With Hidden Noise* appears twice || 2B; 17; 18A |- | *A bruit secret* (With Hidden Noise) || Marcel Duchamp || 1916 || Readymade || Appears twice in Cast Shadows (composite/mirror) || 18A–B |- | *The Blind Man* No. 2 (P.B.T.) || (Journal) || 1917 || Publication || Venue for Stieglitz *Fountain* photo || 38A–B |- | *In the Manner of Delvaux* || Marcel Duchamp || 1942 || Photographic composite || Demonstrates montage competence (context for photo edits) || 21A |- | *Rotative plaques de verre* (Rotary Glass Discs) || Marcel Duchamp || 1920 || Kinetic / optical || Referenced in Man Ray studio photo (circular motif) || (Gould textbox) |- | *Rotoreliefs* || Marcel Duchamp || 1935 || Optical discs || 1‑eye stereo effect; interactive demo (context) || 55 |- | *Wanted Poster* || Marcel Duchamp || 1921 (printed 1941) || Poster (stereo experiment) || Box edges/portraits fuse stereoscopically || 57A–C |- | *The Large Glass* || Marcel Duchamp || 1915–23 || Major work || Empirical “multi‑view” mapping (~43 parts) || 49A–D; 51A–G |- | *Chocolate Grinder* || Marcel Duchamp || 1913–14 || Component motif || Used for perspective tests & animations || 49A; 51A–C |- | *Green Box* (notes) || Marcel Duchamp || 1934 || Notes (typographic ed.) || Readymade timing/seriality emphasis || 1 |- | *White Box* (''À l’infinitif'') || Marcel Duchamp || 1967 (notes 1911–15) || Notes || Two‑state (“general/particular”) diagrams (3A–B) || 3A–B; 4A–C |- | *Violin and Grapes* || Pablo Picasso || 1912 || Cubist painting || Context of alternatives to single‑view perspective || 62 |} ; Methods / forensics cited * Classic “black‑ground” compositing examples (1898 handbook). (Illus. 42A–D) * Dino A. Brugioni, *Photo Fakery* (1999): perspective diagnostics; “fluffy edges” (cut‑and‑paste artifacts). (Illus. 23H–I; 30; 31A–B) == References == * Rhonda Roland Shearer; Gregory Alvarez; Robert Slawinski; Vittorio Marchi; textbox by Stephen Jay Gould (2000; updated 2019). “Why the Hatrack is and/or is not Readymade: With Interactive Software, Animations, and Videos for Readers to Explore.” ''Tout‑Fait''. : **Figures referenced throughout:** 1; 2A–F; 3A–B; 4A–C; 5–6; 7A–D; 8A; 9; 10–11; 12A–D; 13A–C; 14A–E; 15A–B; 16A–B; 17–18; 19A–B; 20A–C; 21A–B; 22A–C; 23A–E, 23F–I; 24A–C; 25A–B; 26A–B; 27–32; 33A–B; 34A–H; 35A–E; 36A–E; 37A–D; 38A–B; 39A; 40A–F; 41A–D; 42A–D; 43A–C; 44A–B; 45A–C; 46A–C; 47A–B; 48; 49A–D; 50A–B; 51A–G; 52A–F; 53–54A–C; 54D; 55; 56A–B; 57A–C; 59–60; 61–62.
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