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In addition, of , which dramatically extolled the ''beauty of speed" and "a racing Guillaume Apollinaire's discussion of Duchamp's works of this period in car whose hood is adorned with great pipes, like serpents of explosive his Les Peintres Cubistes of is revealing and supports the thesis that breath" Marinetti 21 , through the numerous paintings shown in the science had come to play an increasingly central role in Duchamp's Futurists' exhibition treating themes of modem transportation, Futur- thinking. In , how- 1, lar structure, projecting afluid or flamelike "substance. Duchamp's new interest in literature as well. How to described as "flames" in discussions of his work. For this elaborate allegory of quest, Duchamp drew by Apollinaire as evidence of on science and technology as well as geometry to create the "collisions" his intellect, Duchamp now between the incommensurable realms of the three-dimensional, gravity- modeled himself on Leonardo bound Bachelors below and a four-dimensional, etherial Bride above.
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Images such as figure 10, which illustrate the intriguing to the public. As such, the painting and its preparatory drawings 18 See, e. Here the flamelike stream of electrons is surrounded by a succes- in. The phenomena of the emission of light compels us to think that the cor- Figure 6.
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One Strong and One Swift fig. Philadelphia Museum ofArt. In the end, however, reconciling art and people was not Duchamp's goal in these works, which have more often than not mystified their An art directed to wresting from nature, not intellectual generalizations, audience and concealed their specific scientific or technological roots. United States If "electric" flames and sparks served as models for Duchamp's iconog- from onward, had produced raphy of electricity in the final painting of The King and Queen Surrounded Figure 9. Beyond the previously invisible realm for which X-rays had cathode rays had still been uncertain. The Infancy of Atomic Physics.
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