1912, (cast ca. 1960)
bronze with black patina
28⅜ x 13 3/16 x 14 15/16 in
72.07 x 33.50 x 37.94 cm
Eric and Jeanette Lipman Fund
Duchamp-Villon and his brothers Jacques Villon and Marcel Duchamp
formed the core of an important early 20th-century artists’ collective called
the Puteaux group, which met to discuss the ramifications and applications of Cubism.
the decisive moment in Duchamp-Villon’s career, when he began his Cubist work.
Its high ridges and deep concavities show his interest in faceting and
geometry, while the masklike and totemic qualities show the influence of
African art prevalent among Modernist painters and sculptors. The face’s
distortions also suggest a gargoyle, reflecting Duchamp-Villon’s study of
medieval sculpture on the façade of Chartres Cathedral. There is also a
conscious element of caricature, as Duchamp-Villon enlarged the already
prominent features of the subject—the wife of poet and painter George