Lebel, Robert

Although the alchemical interpretation may have surfaced verbally as early as the 1930s, it was initially pursued in print by Robert Lebel, who published the first biography of Marcel Duchamp in 1959. Lebel s query about a generalized alchemical orientation in the master s work drew a now... 

When this gratuitously titled machinery is set into rotary motion, the striped and displaced circles appear to undulate. This movement produces a hypnotic illusion of pulsating depth, or what Robert Lebel poetically called a screen for suggestive metamorphosis. Fascinated by this quirky optical experiment, Duchamp (especially in 1926) created a number of substitute disks decorated with either spiral-linear and colored patterns, many of which included similarly inscribed onomatopoetically, pseudo-emblematic patterns (see MD-125, MD-126, MD-135, MD-139). These motorized illusionistic doodles continued in production, culminating eventually in 1935, with the editions of some 1500, flat cardboard disks, collectively called the Rotoreliefs (MD-144). Another approach in this direction of rotary symbolism was represented in the 1926 film Anemic Cinema (MD-140), where spirals alternate with puns inscribed within slowly turning disks. ... 

According to the opinion of Robert Lebel, morphologically, it [the rotative corpus] is a part of a new trend in abstract art.. . . For Duchamp himself it was a kind of conclusion and termination of a prolonged search. What most fascinated Man Ray about this prolonged circular optical series was what he called in effect Duchamp s pseudoscience. Accordingly, he was particularly struck by... 

In turn, Robert Lebel, another very close acquaintance of Duchamp, has rendered what is probably the best overall summation of the total significance of the endlessly enigmatic artist s meta-optical, and therefore for him similarly pseudoscientific, obsessions. As described by Lebel,... 

Reduced to their bare verbal bones, both terms just defined by Pemety prominently appear in one of Duchamp s last ready-mades (MD-196). The immediate function of this minimalist object avant la lettre), inscribed with the artist s monogram M. D., was to serve as a kind of metallic seal set upon the box containing the deluxe edition (32 authorized examples in all) of Robert Lebel s Sur Marcel Duchamp, published the next year to great acclaim. As executed by Duchamp in Paris during the summer of 1958, this is simplicity itself a deep blue, enameled metal (iron) plaque, measuring 15 X 20 cm., which bears an inscription, the kind once familiar to Parisians, neatly laid out in white letters (sans serif). This object, which Jean Clair calls a Ready-made imite, exactly simulates the kind of announcements one formerly saw, a century ago, posted on newly erected apartment buildings. The statement it bears is concise, to say the least ... 

Submitted by Norman A. LeBel and Dorothy Hwang1 Checked by Christopher K. VanCantfort and Robert M. Coates... 

Jobb B, Uza M, Hunsinger R, Roberts K, Tosine H, Clement R, Bobbie B, LeBel G, Williams D, Lau B (1990), Chemosphere 20 1553-1558. A survey of drinking water supplies in the province of Ontario for dioxins and furans"... 

Richer M, Robert S, Lebel M. Renal hemodynamics during norepinephrine and low-dose dopamine infusions in man. Crit Care Med 1996 24 1150-1156. 

Eric A. Korf Gerald E Koser Chutima Kuhakam Brian R. Kusche Kenneth K. Laali Emmanuel Lacdte Robert W. Lang James W. Leahy Helene Lebel Salvatore D. Lepore Steven V. Ley... 

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