Unlike many artist couples at the beginning of the twentieth century, in the relationship between Suzanne Duchamp and Jean Crotti, both partners had more or less equal rights. That is remarkable because for many other couples, it was expected that the wife’s career would take second place to that of her husband, as was the case, for example, for Paula Modersohn Becker and Frida Kahlo. Other women artists transferred their activities to the field of so-called applied art, which is less prestigious but more lucrative, thereby often becoming the breadwinner while their husbands were free to dedicate themselves to their art production. This was the case for Sonia Delaunay and Sophie Taeuber-Arp, and others. Suzanne Duchamp and Jean Crotti, by contrast, both pursued their art autonomously and independently from each other.
