The Large Glass is an artwork by Marcel Duchamp (1887-1968). It is a two glass panel and the mediums incorporated are dust, lead wire, lead foil, varnish and oil. This “69 1/4 x 109 1/4″ painting is also known as The Bride Stripped Bare by Her Bachelors, Even. This artwork was created over a span of 8 years from 1915 to 1923. (Deb, 321-322, 5-1) This artwork by Duchamp is a truly breathtaking work that is incorporated by laborious craftsmanship, perspective studies that are wonderfully plotted and has been executed with an amalgamation of structured procedure and imagination.
To Duchamp it conveys this work as a amusing confrontation between the upper panel “Bride” and the nine insignificant “Bachelors” in the lower pane. (Lamb, 29, 1) However, to the artist himself it is a combination of mathematics and dimensions. (Duchamp, 1, 5) This piece of artwork is a beautiful depiction of gender difference and their mutual attraction juxtaposed together and is regarded as a total completion. This artwork is also referred to as a manifestation of a love machine. (Tomkins, 1, 7) However according to some critic like Fletcher, this piece represents the sufferings induced out of lust.
(Fletcher, 116, 3) The bride is believed to be caged or even crucified and thus she can be treated as the eternal martyr of love. (Anand, 55, 4) The main aspect of this picture, from a viewer’s perspective is to look for the philosophic approach that the painter has taken to enumerate the stability and inconsistency of life. This work of art is exquisite because it places the viewer’s perspective that can be termed as bilateral. It is down to earth and materialistic in one way and at the same time it renders the spiritual aspects of existence.
Not many art forms are capable of evoking such aura and thus it could be termed as a work right out of the grade one hall of fame. All in all, to summarize, it can be specified that Marcel Duchamp presents the most powerful analysis of love and the agony related to love and the eternal attraction prevailing with all the differences and barriers imposed. References: Anand, V; Painting: The Process of Thought and Perception; HDT Ltd. 2006, 55. Deb, S; History of Art; Vol. 6 ABP Ltd. 1998; 321-322
Duchamp, M; Here are the Nine Malic Moulds,part of Dew Harrison’s project: Deconstructing Duchamp; Tony Smith’s Home Page; May 1998; page 1, pare 5, retrieved on 30. 10. 2006 from http://www. valdostamuseum. org/hamsmith/Duch. html Fletcher, R; Beliefs and Knowledge: Believing and Knowing, Howard & Price, 2003, 116, 3 Lamb, Susan R; Justifications of Art; Curtley-Vosges. 2001; 29 Tomkins, Calvin; Duchamp: A Biography; Washington Post; 1996; 1, 7; retrieved on 30. 10. 2006 from http://www. washingtonpost. com/wp-srv/style/longterm/books/chap1/duchamp. htm