Yvonne (in kimono) - Marcel Duchamp
Archival giclée
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Description
An early 1903 portrait by Marcel Duchamp, featuring his sister Yvonne in a kimono against a bold red background.
This early work by Marcel Duchamp, dated 1903, captures his sister Yvonne in a kimono. Created during his formative years, the piece displays a departure from the academic training he received in Rouen. The composition is defined by a bold, central figure set against a stark, hand-applied red wash. This use of colour creates a graphic silhouette, drawing the eye to the figure while flattening the pictorial space. The line work is calligraphic and economical. Duchamp uses simple, fluid strokes to define the folds of the fabric and the posture of the subject. The kimono is decorated with abstract, serpentine patterns that suggest a Japanese influence, a common interest among artists in Europe at the turn of the century. The figure stands with her back to the viewer, her hand raised to her hair, a pose that introduces a sense of quiet, private observation. Unlike his later conceptual works, this drawing reveals Duchamp's early engagement with the traditions of sketching and portraiture. The paper retains a warm, aged tone, which contrasts with the saturated red background. The signature is placed prominently in the lower right, while the title and date are inscribed in the lower left corner. This piece offers a glimpse into the artist's early technical abilities and his developing interest in the relationship between the figure and the surrounding space. It remains a significant example of his pre-Dada output, demonstrating a clear command of line and a willingness to experiment with minimalist colour palettes.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Yvonne (in kimono) - Marcel Duchamp
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Marcel Duchamp
He was born near Rouen in Normandy, the brother of the sculptor Raymond Duchamp-Villon and the painter Jacques Villon. The family produced three significant artists, which is unusual. Marcel was the youngest and the most destructive.
His early career moved through Impressionism, Fauvism, and Cubism in rapid succession. Nude Descending a Staircase No. 2 (1912), a Cubist-Futurist painting of fragmented motion, caused a scandal at the New York Armory Show in 1913. One critic called it 'an explosion in a shingle factory'. The painting made Duchamp famous in America before he had set foot there.
He moved to New York in 1915. His contribution to art from this point was largely conceptual. The 'readymades', ordinary manufactured objects designated as art by the artist's choice (a bottle rack, a snow shovel, the urinal), dismantled the idea that art required skill, craft, or even making. The artist's decision was sufficient.
He spent twenty years officially retired from art, playing chess at a competitive level. In secret, he was building Etant Donnes, an installation visible only through two peepholes in a door. It was revealed after his death in 1968 and is permanently installed at the Philadelphia Museum of Art. He had been working on it for twenty years while telling everyone he had stopped making art.
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