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| marcel dzama the infidels: Marcel Dzama Marcel Dzama, 2009 Marcel Dzama (born 1974) is one of contemporary art's hottest stars, and The Infidels is the most beautifully produced and substantial monograph on his work to date. Housed in a beige cloth cover featuring a tipped-in image, The Infidels contains fantastically sharp reproductions of paintings, drawings, film storyboards, collages and dioramas from the past two years, and installation shots from Dzama's exhibition of these works at Sies + Höke Gallery in Düsseldorf. The book also records an increased politicization in the artist's concerns, with references to American history and current events erupting in evocations of torture, terrorism and warfare (a partial result of Dzama's relocation from Winnipeg to New York). One special highlight of The Infidels is a new series of dioramas, housed in wooden boxes and vitrines, which transports Dzama's world of knife-wielding ghouls, mutant animal men and hooded, gun-toting girls into a three-dimensional wunderkammer, with figurines made of plaster, little cages with white cubes (a homage to Duchamp's Why Not Sneeze? assemblage), inscriptions and even taxidermied mice and birds, all recruited into the enacting of historical and mythic scenarios. These magical dioramas prove that the borders of Dzama's fantasy land continue to expand and find new forms and stages for their expression. |
| marcel dzama the infidels: Marcel Dzama Deborah Solomon, David Zwirner (Gallery), 2013 Marcel Dzama (*1974 in Winnipeg) is known for his prolific drawings, which are characterized by their distinctive palette and subject matter. He has recently expanded his practice to encompass film and three-dimensional works, thus developing an immediately recognizable language that draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. Created in close collaboration with the artist, this publication presents his 2013 exhibition at David Zwirner in London, which included videos inspired by the game of chess and puppets and masks based on the characters, along with drawings, collages, dioramas, paintings, and sculptural works. Dzama utilized the architecture of the gallery itself--an eighteenth-century Georgian townhouse--by hanging puppets from a skylight above the five-story building's central spiral staircase and placing monitors in the windows so that his videos could be viewed from the street. |
| marcel dzama the infidels: The Irresistible Fairy Tale Jack Zipes, 2012 Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and much more. |
| marcel dzama the infidels: Marcel Dzama Marcel Dzama, 2021-01-26 This lavishly illustrated monograph is the definitive publication on the internationally renowned Canadian artist Marcel Dzama. Characterized by an immediately recognizable cast of fanciful and frightening characters, Dzama’s work draws from a diverse range of influences, including Dada and Marcel Duchamp. While the artist is best known for his delicate psychosexual drawings, his work also includes sculpture, painting, and film. More than 500 color images from the late 1990s through the present trace the artistic evolution and tremendous talent of this highly acclaimed young artist. Textual contributions include a foreword by the contemporary artist Raymond Pettibon, three original short stories inspired by Dzama’s work by Dave Eggers, an essay by the art historian Bradley Bailey, and an interview with Dzama by the filmmaker Spike Jonze. |
| marcel dzama the infidels: Idiot Kris Martin, 2020-03-16 Conceptual Rigor and Elegant Materiality. Kris Martin (b. Kortrijk, 1972; lives and works in Ghent) makes art that fascinates beholders with its conceptual rigor and elegant play with the physical properties of his materials. In installations, sculptu-res, photographs, drawings, writings, and sound pieces, the Belgian conceptual artist raises existential questions. Working in the tradition of the objet trouvé, he performs minute interventions to alter the essence of objects, creating blanks that the beholder can fill with his or her own associations. Through such displacements of context, which reflect his subtle sense of humor, Martin examines the intense experience of time and the ephemeral qualities of art. Published in conjunction with Martin's first solo exhibition at the S.M.A.K. Stedelijk Museum voor Actuele Kunst in Ghent, the artist's book Idiot is a handwritten copy of the literary classic of the same title by Fyodor Dostoevsky. Martin spent several months faithfully replicating each of 1,496 pages, replacing the hero's name with his own for a unique and peculiar emulation of Prince Myshkin's quest for spiritual transformation. |
| marcel dzama the infidels: El mundo de José Luis Cuevas José Luis Cuevas, Carlos Fuentes, 1969 |
| marcel dzama the infidels: Marcel Dzama Mark Lanctôt, Marcel Dzama, 2010 |
| marcel dzama the infidels: William Shakespeare × Marcel Dzama: A Midsummer Night's Dream William Shakespeare, 2021-05-18 Set in an enchanted forest, Shakespeare’s A Midsummer Night’s Dream is the ideal subject for artist Marcel Dzama, whose work frequently references dreams, fairy tales, and mythical worlds. Inspired by Ovid’s Metamorphoses, Shakespeare’s celebrated romantic comedy intertwines multiple narratives under the influence of transformation and witchcraft. The play is often staged with actors wearing animal masks, an aspect which appeals particularly to Dzama, whose work is characterized by the fusion of human and animal, fantasy and reality. The second title in David Zwirner Books’s Seeing Shakespeare series revisits the ultimate fairy tale through the eyes of a contemporary artist who feels a special affinity for its imagery. |
| marcel dzama the infidels: The Course of Human History Personified Marcel Dzama, Jason Rosenfeld, Jason Daniel Tougaw, 2005 Essays by Jason Rosenfeld and Jason Tougaw. |
| marcel dzama the infidels: The Funny Little Man Virginia Grace St. George Smith, 1993 Early in the twentieth century, a new icon of modernism appeared - a humorous, miniaturized representation of the human figure, which Virginia Smith calls The Funny Little Man. It emerged in different international centers of artistic activity, popping up in posters, newspapers, and other printed pieces. The Funny Little Man's evolution is traced from his lively youth, which reflected the brisk confidence of early Modernism, to his eventual death, which coincided with Modernism's decline. In this narrative of the Funny Little Man, his various stopping points - German commercial art, French posters, production art of the Russian Constructivist movement, and American advertising of the 1940s - introduce the reader to the lives, work, and theories of many individual designers and artists as they formulated what was to become the graphic design profession. Along with examples by well-known artists such as Leger, Kandinsky, Hohlwein, and Cassandre, the book offers a rare look at the work of neglected moderns such as Zietara, Stepanova, Rodchenko, Corty, Carlu, and Schlemmer. Quotations from personal diaries and letters, design magazines, political statements, and literature provide insight into the historical context of early graphic design - the personal stories as well as the political forces that affected the creation of graphic images like the Funny Little Man. Pursuing the life of the Funny Little Man as a biographer would, Professor Smith expertly examines the phenomenon of this unique figure. She shows that, although the Funny Little Man was carelessly invented, his adaptation for various purposes (some innocent, some calculated) mirrors deep-seated human preferences andtendencies. As part of her analysis, she briefly and effectively recaps influential theories of proportion of the designed human figure, from the Egyptian late canon to Le Corbusier's modular man. The Funny Little Man is a fascinating story, beautifully told here in word and images. And it may not be over yet - recent sightings of Funny Little Men images suggest a resurgence. This book offers a penetrating view of how graphic design has grown from its humble beginnings to the powerful influence it is today. |
| marcel dzama the infidels: About a Mountain John D'Agata, 2010 From one of the most significant U.S. writers (David Foster Wallace) comes an investigation of the federal government's plan to store high-level nuclear waste at a place called Yucca Mountain, a desert range near the city of Las Vegas. |
| marcel dzama the infidels: Marcel Dzama Marcel Dzama, Fernando Francés, Juan Francisco Rueda, 2012 Known internationally for his ink and watercolour drawings that incorporate recurring figures and manifestations of violence, Canadian-born, New York-based artist Marcel Dzama takes inspiration from European avant-garde movements such as Dada and Surrealism. Against the background of this cultural context, his creative output primarily uses the device of visual quotation to illustrate traits of the human condition, as well as situations imbued with a certain unease, implying a critique of accepted cultural or societal norms. This book provides an intimate look at Dzama and his work, with numerous examples of the aforementioned drawings, plus objects, collages and photographs.0Exhibition: CAC Málaga, Spain (30.3.-10.6.2012). |
| marcel dzama the infidels: Annulosa. [By W. E. Leach. Extracted from vol. 1 of the Supplement to the Encyclopædia Britannica.] , 1824 |
| marcel dzama the infidels: Calder/ Miro Elizabeth Hutton Turner, Oliver Wick, 2004-05-28 Sculptor Alexander Calder (1898-1976) and painter Joan Miró (1893-1983) became lifelong friends after their first meeting in Paris in 1928. This book and the exhibition it accompanies are about their extraordinary friendship and the early years of their careers. Calder and Miró shared many artistic interests, and the book is organized around common themes such as the circus, bestiary, universe, and constellations. The artists shared an ambition to create monumental works for public spaces and, while waiting for those opportunities, achieved monumentality on a reduced scale. Miró's small Constellations evoke the tradition of Romanesque frescoes, while Calder's earliest stabiles and mobiles occupy space in a way that transcends their size, paving the way for later monumental works. The editors, in their two essays and in their organization of the colour plates, focus on the first two decades of the artists' careers, culminating in the monumental public commissions that Calder and Miró received for the decoration of the Terrace Plaza Hotel, Cincinnati, in 1947. Both artists combined colour, shape and line in new ways, relying primarily on these limited elements to explore compositional space. While they worked independently, their resulting creations have long been recognized as reinforcing each other's vision. When their works are shown together, as John Canaday observed in his 1961 New York Times review, '- the element of fantasy is heightened in Calder's impeccably balanced structures and the element of calculation becomes more apparent than usual in Miró's looser inventions.' Extensive illustrations provide fresh insights into the visual dialogue between them and show the ways in which they expanded and erased the traditional boundaries in art. Their charming correspondence is published here for the first time and rare photographs of the two men together, and of the gifts of artwork they exchanged, document the friendship. A detailed chronology opens a window into their personal and professional lives. The book accompanies the exhibition Calder/Miró at Fondation Beyeler, Riehen/Basel (2 May - 5 September 2004), and at The Phillips Collection, Washington, D.C. (9 October - 23 January 2005). |
| marcel dzama the infidels: The Berlin Years Marcel Dzama, 2006-12-28 Marcel Dzama has changed everything about art that involves alligators and men in bear costumes holding guns. Dzama is from Winnipeg, and his work shows frequently in New York and on Beck's album covers. Sometimes he paints with root beer. This book -- it's not even a book at all, really -- is an envelope with 32 loose-leaf prints good enough to frame; plus a scrapbook; plus an insert card; plus an introduction by Sarah Vowell, recently brought back into existence after a long absence -- and it's a wonderfully multifaceted introduction to the work of a really amazing artist. |
| marcel dzama the infidels: Bed, Bed, Bed They Might Be Giants (Musical group), John Flansburgh, 2003-11-03 A dazzling four-colour sing-along book plus an audio CD featuring five new tie-in, Grammy award winning, They Might Be Giants songs. |
| marcel dzama the infidels: Radical Gaming Sabine Himmelsbach, Boris Magrini, 2021-08 |
| marcel dzama the infidels: Explore Everything Bradley Garrett, 2014-09-09 It is assumed that every inch of the world has been explored and charted; that there is nowhere new to go. But perhaps it is the everyday places around us—the cities we live in—that need to be rediscovered. What does it feel like to find the city’s edge, to explore its forgotten tunnels and scale unfinished skyscrapers high above the metropolis? Explore Everything reclaims the city, recasting it as a place for endless adventure. Plotting expeditions from London, Paris, Berlin, Detroit, Chicago, Las Vegas and Los Angeles, Bradley L. Garrett has evaded urban security in order to experience the city in ways beyond the boundaries of conventional life. He calls it ‘place hacking’: the recoding of closed, secret, hidden and forgotten urban space to make them realms of opportunity. Explore Everything is an account of the author’s escapades with the London Consolidation Crew, an urban exploration collective. The book is also a manifesto, combining philosophy, politics and adventure, on our rights to the city and how to understand the twenty-first century metropolis. |
| marcel dzama the infidels: Ken Lum Ken Lum, Okwui Enwezor, 2011 A major retrospective of one of Canada's most widely recognized contemporary artists. Over the past 25 years, Vancouver-based artist Ken Lum has developed a large body of work that includes painting, sculpture, performance and photography. He has exhibited throughout North America, Europe and Asia, and his awards include a Hnatyshyn Foundation Visual Arts Award. This richly illustrated volume is the first full-length book devoted to Ken Lum's work in more than nine years. In this time, his work has shifted to large permanent public installations, among them his fourth permanent public installation opening in 2010 in the Netherlands. Ken Lum accompanies a large-scale exhibition organized by the Vancouver Art Gallery that celebrates Lum's entire career and showcases aspects of his work-such as the mazes created for Documenta 11 and the Istanbul Biennal-that have never been seen before in North America. This book was published in partnership with the Vancouver Art Gallery. |
| marcel dzama the infidels: Paintings & Films Wilhelm Sasnal, Sebastian Cichocki, Stedelijk Van Abbemuseum, 2006 Is Wilhelm Sasnal (born in 1972 in Poland) the best painter to emerge in the twenty-first century? This small volume presents highlights from his early career along with several extraordinary new canvases and a series of 16mm films and video work from the artist's recent travels in the U.S. and Brazil. |
| marcel dzama the infidels: Hatred of Capitalism Chris Kraus, Sylvere Lotringer, 2002-01-18 Jean Baudrillard meets Cookie Mueller in this gathering of French theory and new American fiction. Compiled in 2001 to commemorate the passing of an era, Hatred of Capitalism brings together highlights of Semiotext(e)'s most beloved and prescient works. Semiotext(e)'s three-decade history mirrors the history of American thought. Founded by French theorist and critic Sylvere Lotringer as a scholarly journal in 1974, Semiotext(e) quickly took on the mission of melding French theory with the American art world and punk underground. Its Foreign Agents, Native Agents, Active Agents and Double Agents imprints have brought together thinkers and writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In Hatred of Capitalism, editors Kraus and Lotringer bring these people together in the same volume for the first time. |
| marcel dzama the infidels: Fairy Tales, Monsters, and the Genetic Imagination Mark Scala, 2012 This catalog explores the psychological and social implications contained in the hybrid creatures and fantastic scenarios created by contemporary artists whose works will appear in the exhibition Fairy Tales, Monsters, and the Genetic Imagination, which opens at Nashville's Frist Center for the Visual Arts in February 2012. Curator Mark Scala's introductory essay focuses on anthropomorphism in the mythology, folklore, and art of many cultures as it contrasts with the dominant Western view of human exceptionalism. Scala also provides an art historical context, linking the visual fabulists of today to artists of the Romantic, Symbolist, and Surrealist periods who sought to transcend oppositions such as rationality and intuition, fear and desire, the physical and the spiritual. Discussing how artists adapt traditional stories to give mythic form to the very real dilemmas of contemporary life, Jack Zipes's Fairy-Tale Collisions centers on Paula Rego, Kiki Smith, and Cindy Sherman. From a generation of women who have attained prominence since the 1980s, these artists alter fairy-tale imagery to subvert or rewrite social roles and codes. In Metamorphosis of the Monstrous, Marina Warner discusses works in the exhibition in the context of historical conceptions of monsters as expressions of alterity, bestiality, or sinfulness. Her reminder that contemporary monster images offer a promise and a warning about the variety, heterogeneity, and possible combinations and recombinations in the order of things sets the stage for Suzanne Anker's essay, punningly titled The Extant Vamp (or the) Ire of It All: Fairy Tales and Genetic Engineering. Considering representations of hybrid bodies by Patricia Piccinini, Janaina Tschape, Saya Woolfalk, and others, which evoke imagined beings of the past as a way to envision the recombinant creatures that may lie in the future, Anker shows how artists explore the social, ethical, and future implications of biological design and enhanced evolution. Accompanying an exhibition of contemporary art in which depictions of marvelous creatures and fantastic narratives provide both chills and delights, the essays in Fairy Tales, Monsters, and the Genetic Imagination explore the meaning of this fabulist revival through the lenses of social and art history, literature, feminism, animal studies, and science. |
| marcel dzama the infidels: Alec Eddie Campbell, 2009 Collects semi-autobiographical comics from Eddie Campbell that feature his alter-ego, Alec MacGarry, including stories from The King Canute Crowd, Graffiti Kitchen, The Dead Muse, Fragments, and other books. |
| marcel dzama the infidels: Sleepwalk with Me Mike Birbiglia, 2012-08-21 Offers a humorous memoir about first love, denial, sleepwalking, and the author's perils and pitfalls of being himself. |
| marcel dzama the infidels: Endless Enigma: Eight Centuries of Fantastic Art Dawn Ades, 2019-04-23 Endless Enigma: Eight Centuries of Fantastic Art explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Endless Enigma takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel. |
| marcel dzama the infidels: Aegidius Suite Jonathan Meese, Robert Fleck, 2007 This collection of paintings, sculptures and collaborations including stage sets for a production of Frank Castorf's Kokain is the first comprehensive survey of Meese's major incursions into the German art scene. |
| marcel dzama the infidels: Drawings by Marcel Dzama from the Bernardi Collection Marcel Dzama, Wayne Baerwaldt, James Patten, Art Gallery of Windsor, 2004 Text by James Patten, Wayne Baerwaldt. |
| marcel dzama the infidels: Alternative Moons , 2017 The moon has been a source of inspiration and imagination throughout human history. Laden with mythological and superstitious narratives, it has also been a source of speculative science fiction and surprisingly real facts. The first collaborative artists' book by Nadine Schlieper and Robert Pufleb offers a fantastical journey through a fictitious conceptualisation of the moon. With more than 40 photographic images of moons and cosmic landscapes, it presents an equal number of new discoveries and revelations. Join the space trip and discover formerly unseen images of mysterious moons from an unknown galaxy, as the dawn of reality is catching up behind the scenes. |
| marcel dzama the infidels: Winnipeg Now Robert Enright, Mark Kingwell, Sarah Milroy, K. C. Adams, Meeka Walsh, 2013 As part of the Winnipeg Art Gallery's centennial year, this book accompanies the contemporary art exhibition Winnipeg now (Sept. 29-Dec. 30th, 2012), featuring 13 Winnipeg artists. |
| marcel dzama the infidels: Kishio Suga , 2024 |
| marcel dzama the infidels: Bruno Munari Miroslava Hajek, Bruno Munari, Luca Zaffarano, 2012 Bruno Munari (1907-1998) played a pioneering role in the evolution of twentieth-century art and design, his work exerting an influence that stretched far beyond the borders of Italy. Munari described the roots of his work as his 'Futurist past', but his influences were extremely varied, also reflecting the aesthetics and sensibilities of Constructivism, Dada and Surrealism. This exhibition at the Estorick collection in London explores Munari's artistic research between 1927 and 1950, spanning the artist's Futurist phase and early investigation of the possibilities of kinetic sculpture, the immediate post-war years during which he became a leading figure of abstract painting and his subsequent experiments with projected light and installation-based work. 0Exhibition: Estorick Collection of Modern Italian Art, London, UK (19.9.-23.12.2012). |
| marcel dzama the infidels: Comic Release Vicky A. Clark, Barbara J. Bloemink, Ana Merino, 2002 Contributions by Rick Gribenas, Rob Rogers. Text by Barbara Bloemink, Vicky Clark, Ana Merino. |
| marcel dzama the infidels: Pensieri Dei Serpenti Royal Art Lodge (Group), Guido Bartorelli, 2005 |
| marcel dzama the infidels: Painting Between the Lines Jens Hoffmann, Jana Blankenship, Claire Fitzsimmons, 2011 With Painting Between The Lines, the CCA Wattis Institute continues its investigation into the relationship between literature and art by commissioning 14 contemporary artists to create paintings based on descriptions of paintings in historical and contemporary novels. |
| marcel dzama the infidels: Human Sectional Anatomy Harold Ellis, Bari M Logan, Adrian K. Dixon, 2009-09-25 First published in 1991, Human Sectional Anatomy set new standards for the quality of cadaver sections and accompanying radiological images. Now in its third edition, this unsurpassed quality remains and is further enhanced by some useful new material. As with the previous editions, the superb full-colour cadaver sections are compared with CT and MRI images, with accompanying, labelled line diagrams. Many of the radiological images have been replaced with new examples, taken on the most up-to date equipment to ensure excellent visualisation of the anatomy. Completely new page spreads have been added to improve the book's coverage, including images taken using multidetector CT technology, and some beautiful 3D volume rendered CT images. The photographic material is enhanced by useful notes, extended for the third edition, with details of important anatomical and radiological features. |
| marcel dzama the infidels: Deutsche Nationalbibliographie und Bibliographie der im Ausland erschienenen deutschsprachigen Veröffentlichungen , 2009 |
| marcel dzama the infidels: La beauté du geste Musée d'art contemporain (Montréal), Josée Bélisle, 2014 Published on the occasion of the 50th anniversary of Canada's premier contemporary art museum and accompanying a sprawling exhibition, this illustrated publication pays tribute to the artists, collectors, and galleries whose initiative and generosity brought this singular institution into being in 1964. |
| marcel dzama the infidels: Dzama Marcel Dzama, 2017 |
Marcel | Atlanta, GA
Whether it’s an intimate dinner or a party for one hundred guests, Marcel will make the occasion a success. For Reservations: 404.665.4555 or Online Email …
Marcel Restaurant - Atlanta, GA - OpenTable
Jun 10, 2025 · Marcel in Atlanta stands out as a top-tier steakhouse offering an extraordinary dining experience. Guests rave about the "amazing service," "perfectly cooked steaks," and …
Marcel (given name) - Wikipedia
Marcel (French: [maʁsɛl], Occitan: [maɾˈsɛl], Catalan: [məɾˈsɛl, maɾˈsɛl], Romanian: [marˈtʃel]) is an Occitan form of the Ancient Roman origin male given name Marcellus, which in Latin …
MARCEL - Updated June 2025 - 1704 Photos & 963 Reviews - Yelp
Super simple menu - Cheeseburger or hamburger, fries to share and vanilla or chocolate milkshake. We all got cheese burgers and chocolate milkshakes and 2 sides of fries for 3 …
MARCEL, Atlanta - Menu, Prices, Restaurant Reviews ... - Tripadvisor
May 29, 2025 · Reserve a table at Marcel, Atlanta on Tripadvisor: See 227 unbiased reviews of Marcel, rated 4.3 of 5 on Tripadvisor and ranked #147 of 2,329 restaurants in Atlanta.
Marcel - Baby Name Meaning, Origin, and Popularity
Jun 8, 2025 · Marcel is a boy's name of French origin meaning "little warrior". Marcel is the 753 ranked male name by popularity.
Meaning, origin and history of the name Marcel
May 30, 2025 · Notable bearers include the French author Marcel Proust (1871-1922), French artist Marcel Duchamp (1887-1968) and Austrian alpine skier Marcel Hirscher (1989-).
Marcel - Name Meaning and Origin
The name Marcel is of French origin and is derived from the Latin name Marcellus, meaning "young warrior" or "dedicated to Mars." It is a masculine name that carries connotations of …
Menus - Marcel
We serve steaks with much love and aging. We stir our drinks by hand. We always open the door for you. THESE MENUS ARE REPRESENTATIVE — OUR MENU IS SEASONAL AND …
Marcel - Name Meaning, What does Marcel mean? - Think Baby Names
Marcel as a boys' name is pronounced mar-SELL. It is of French and Latin origin, and the meaning of Marcel is "little warrior". Variant of Marcellus, from Marcus. The source of these …
Marcel | Atlanta, GA
Whether it’s an intimate dinner or a party for one hundred guests, Marcel will make the occasion a success. For Reservations: 404.665.4555 or Online Email …
Marcel Restaurant - Atlanta, GA - OpenTable
Jun 10, 2025 · Marcel in Atlanta stands out as a top-tier steakhouse offering an extraordinary dining experience. Guests rave about the "amazing service," "perfectly cooked steaks," and …
Marcel (given name) - Wikipedia
Marcel (French: [maʁsɛl], Occitan: [maɾˈsɛl], Catalan: [məɾˈsɛl, maɾˈsɛl], Romanian: [marˈtʃel]) is an Occitan form of the Ancient Roman origin male given name Marcellus, which in Latin …
MARCEL - Updated June 2025 - 1704 Photos & 963 Reviews - Yelp
Super simple menu - Cheeseburger or hamburger, fries to share and vanilla or chocolate milkshake. We all got cheese burgers and chocolate milkshakes and 2 sides of fries for 3 …
MARCEL, Atlanta - Menu, Prices, Restaurant Reviews ... - Tripadvisor
May 29, 2025 · Reserve a table at Marcel, Atlanta on Tripadvisor: See 227 unbiased reviews of Marcel, rated 4.3 of 5 on Tripadvisor and ranked #147 of 2,329 restaurants in Atlanta.
Marcel - Baby Name Meaning, Origin, and Popularity
Jun 8, 2025 · Marcel is a boy's name of French origin meaning "little warrior". Marcel is the 753 ranked male name by popularity.
Meaning, origin and history of the name Marcel
May 30, 2025 · Notable bearers include the French author Marcel Proust (1871-1922), French artist Marcel Duchamp (1887-1968) and Austrian alpine skier Marcel Hirscher (1989-).
Marcel - Name Meaning and Origin
The name Marcel is of French origin and is derived from the Latin name Marcellus, meaning "young warrior" or "dedicated to Mars." It is a masculine name that carries connotations of …
Menus - Marcel
We serve steaks with much love and aging. We stir our drinks by hand. We always open the door for you. THESE MENUS ARE REPRESENTATIVE — OUR MENU IS SEASONAL AND …
Marcel - Name Meaning, What does Marcel mean? - Think Baby Names
Marcel as a boys' name is pronounced mar-SELL. It is of French and Latin origin, and the meaning of Marcel is "little warrior". Variant of Marcellus, from Marcus. The source of these …
