He claimed the very activity bored him to death and addressed his correspondents only when he felt it was necessary.Nevertheless, extant letters from his hand have proven to be invaluable documents, for they provide historians with the facts and details necessary for the compilation of a complete and accurate chronology of Duchamp's activities.In any case, the lease expires on July 15th and if you were to take it, do so only if you offer my landlord to rent it three months at a time as it's usually done; he will surely agree.
The emphasis on only two details of Duchamp's facial features—the forehead and eyes—is a clear illustration of the artistic dichotomy that was of such great concern to Duchamp in these years: namely, the intellectual or cerebral quality of the mind versus the retinal or purely visual properties of the eyes.
Crotti," who, she noted, had remained silent through most of the session. Crotti's high regard for Duchamp's work and support for his ideas were even more succinctly expressed in his shockingly unconventional portrait of Duchamp [fig.
9], the most controversial work shown in the exhibition.
Ultimately, it was the more conceptually oriented approach of Duchamp and Crotti that would distinguish their works in this exhibition from the more retinally oriented paintings of their Cubist colleagues. In the fall of 1916 Duchamp moved out of the Lincoln Arcade into a small studio adjacent to the apartment occupied by the wealthy collectors Walter and Louise Arensberg, gracious patrons of the arts who had befriended Duchamp shortly after his arrival in America.
A year earlier he had been their house guest for a few months before finding his own studio, and now the Arensbergs had offered to pay his rent on this small studio in exchange for ownership of the The small studio Duchamp moved into was accessible to the upper level of the Arensberg apartment by a short hallway.