A Painting that changed the world of Perceptions

Art has been a spontaneous representation of human mind and the way it perceives reality. Reality, however, is a relative term, having its own aspirations. And as we indulge into our topic of discussion, the realm of probable reality will seem to float more vividly.

Modern art has had the opportunity of having both a glorious past and a flourishing future to look out for. One such genius mind that bridged the connection between art and interpretation, existed in the cranium of the French born American painter, sculptor and chess player Marcel Duchamp.

Courtesy : Wikimedia commons Marcel Duchamp

It was in the year 1918, fifty years before life slipped away from him, that Duchamp picked up his brush for the last time. The wonder that his last strokes created, however, lingers on the conscience of art lovers till date.

Titled “Tu m”, a possible abbreviation of the French phrase “tu m’ emmerdes” ( you annoy me ) or “tu m’ ennuies” ( you bore me ), it probably indicates that he was at the dead end of his artistic career- an end by choice, not compulsion.

Mystified ends attract human minds like none other. The painting, exhibited in the Gallery of Yale University, left an array of unanswered questions that has kept it alive for a century.

As we peek into the canvas, we find apparently no extraordinary description of the reality. In fact he has caught reality, as always, in its three most common forms – shadow, imitation and objects. It is this tangible expression of existence that takes the work to a different world.

Courtesy : artgallery.yale.edu/collections/objects/50128 Tu m

The canvas is covered by shadows from the right to the end of the frame. A bicycle wheel, a corkscrew and a hat rack – what could possibly be more handy than these? A pointed hand attaches itself with its most unprecedented presence.The centre of attraction, however, lies somewhere else.

A stack of what seems to be coloured tiles, appears to be whirling outwards in its most rigid and square form from left to the centre of the canvas.

The colours are more materialistic than ever -like of a catalogue that enlists coloured tiles or walls to entice a very objective aspiration, instead of an emotional outburst.

In an age where colours used to be expressive to the core, tunneling as many subtle psychological streams as they could, Duchamp’s impression came as blow for the delicate hearts. One thing to be kept in mind is the time when this headstrong artwork came into being. The idea of a soulless yet colourful imprint on a business catalogue, was almost absent from the reference frame, advancing the painting ahead of its time.

Courtesy : Wikimedia commons An article from 1917 featuring Marcel and his fellow futuristic artists.

In fact it was from this era that an everlasting debate on the mannerisms of colouring started. Finesse in colouring , that came with with a soul, ran parallel to the artificial yet conscious usage of colour to gain attraction rather than attention ( that came with a meaning ).

Talk about mystified ends, shall we? An artist who puts aside his passion almost fifty years before death, yet leaving us with a point of view that, even at the worst of times, is rude to creative vulnerability – rude but real; his last was a clear attempt to be mysterious – successful and how!

References: BBC News, February, 2018

Yale University Art Gallery

Bostonglobe.com, October, 2014