You can't bury dirt deep enough.
I was browsing in an old Yale
University Press hefty catalogue raisonne
of the vast collection of avant-garde art amassed in the last century by the
self-styled Societe Anonyme-which in fact consisted of the
Brooklyn art patron Katherine S. Dreier and her close friend and adviser Marcel
Duchamp. On page 210, a fleeting reference appears to Dreier's "brief
marriage in 1911 with American painter Edward Trumbull."
Brief indeed. On August 22, 1911,
the New York Times reported,
"Miss Dreier Finds She is not
a Wife...Wedding cards recalled."
Mr. Trumbull, "several years
the junior of Miss Dreier and belonging to one of the oldest families in
Connecticut," according to the news item, left the wedding party abruptly
after the exchange of vows to fly to the side of his mother in Detroit and then
telegraphed his new bride that he had something to tell her. It seems he was
not legally free of a model he had previously married, in London.
Edward Trumbull’s vast ceiling
mural, “Transport and Human Endeavor,” in the marble and steel lobby of the
Crysler Building.
Miss Dreier left at once for one
of those long trips abroad. Word of the Brooklyn society girl's misalliance
must have pre-ceded her to the gabby salon of Gertrude Stein, to which she had
been introduced by Edward Steichen. Soon after her arrival, Duchamp began
working on sketches of a magnum opus (our picture), which he sold to Miss
Dreier years later. Now known as The
Large Glass, it had a working title that was more evocative: The Bride Stripped Bare by Her Bachelors,
Even.
Miss Dreier, who carried a torch
for Duchamp the rest of her life, never tried to marry again, even.
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