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题目材料：
The "ready-made" artworks of twentieth-century artist Marcel Duchamp culminate a tradition, beginning with such paintings as Courbet' s Funeral at Ornans (1849), whereby artists sought to modify viewers' habitual perceptions of art by making viewers conscious of the academic conventions of those artworks. In Funeral at Ornans, Courbet used techniques associated with sign painters rather than with academically trained artists and based his work' s composition on that of an illustration from a political pamphlet rather than that of an academic artwork. In A Bar at the Folies-Bergère (1881-1882), Manet, defying the conventions of academic painting, also obliges viewers to examine their expectations, but he did so by using two perspectives instead of one and a technique reminiscent of that used to produce lithographed wine-bottle labels. Duchamp, by treating ordinary, mass-produced (ready-made) items such as a bicycle wheel as art objects, proposed that things become art by being put into places where one expects to find art, namely museums, which is to say that their identity as art is entirely a matter of convention.
以上解析由 考满分老师提供。
