an wiaui Oorh-aits:
s J>ariÂŽ
1921-39
<zro
JJlaui s J>ariÂŽ
Ooriraiis:
1921-39
Revised Edition
Timothy Baum
This publication
is
the catalog for the exhibition
Man Rays Pan's
Museum
in St. Petersburg.
Portraits: 1921-39, at the Salvador Dali
Florida,
September
This exhibition
All
Copyright
27th, 1997 to January 18th. 1998.
sponsored
is
photographs
©
1997
in
pan by NationsBank.
in this publication.
Man Ray
All text copyright
©
Trust ARS.
New
York.
Timothy Baum.
ISBN 0-9660353-0-5 All rights reserved.
Cover:
A Group of surrealists at
Tzara
s
House, 1930.
SALVADOR DALI MUSEUM EDITIONS
\jaclkeiJfian J^ia )
which
'achet, as that
uct from that
if
any and
you were
have your photographic
your time unless you gained yourself a prestigious
art:
Why Man finest
Man
one master's work or prod-
of the others. In the early 1920s in Paris, one learned quickly
all
to
differentiates the specialty of
sitting
Ray. People flocked to
him
one can immediately
Ray?",
portrait
made, you would be wasting
with the only resident master of
inquire. Certainly
because he was the
of his profession. Finest, as in most proficient: measured by the highest quality
of imagination mixed with technical prowess. With
one can
still
question
how
a foreigner, particularly
all
such vigorous encomiums,
one so recently
could have such a resounding impact on a society so notorious for ity
this
accordingly.
and
And
related judgmental barriers.
not only
was
this
arrived in Paris.
its
obdurate
rigid-
gentleman a foreigner, but
a Dadaist as well. Imagine!
Man
Ray,
then.
Fresh from
European sophistication (and Belgian-born wife,
Adon
New
York,
related fantasy)
Lacroix,
but seasoned to a certain level of
from such associations as
and one grand friendship with the
Marcel Duchamp. Thus did he arrive quite proudly on French
and never
thereafter did
he
his estranged
feel desirous of departing,
except
soil in
when
inimitable
July of 1921,
the arrival of the
German army in his beloved Paris tumbled all reality asunder. By the end of 1921, Man had become an integral member of the Paris Dada group. He was the only American to fit snugly into its mischievous midst, and nimbly did he become one of its most enterprising participants. Within a few months of his arrival, a one-man show of his work was mounted at the Librairie Six gallery-book-
shop,
owned by
bition
evoked great enthusiasm within the Dada ranks, but not a
sold.
Man
a brother Dadaist, Philippe Soupault,
(created!) the portraits of
many
had photographed the work of various other
artists
of his
exhi-
work was
adroitness with the camera spread. greatly.
By
he
cronies. Also,
news of
his originality
and
the second year his breadth of subjects
had
Represented (and proudly
community: James Joyce, Erik
Dada
such as Picabia and Jacques
Villon to subsidize his quavering income. Quickly did
cultural
single
The
his attention to his ever-ready alternate career of studio photographer.
he had taken
expanded
his wife, Mick.
Ray, a bit crestfallen but hardly defeated, took the advice of several friends
and reairned Earlier
and
so!)
Satie.
were most of the
Juan
Gris,
Gertrude
superstars of the Stein,
all
of the
â&#x20AC;&#x201D;you name them! Painting was tem-
Dadaists, Jean Cocteau, Leger, Matisse, Picasso porarily
abandoned, but "rayographs" emerged to
ular cravings,
fulfill
his imagination's extracurric-
and soon the album Les Champs Delicieux had been produced
in
elegant fashion.
By
the middle of 1922, Vanity Fair
and from June of that year its
until well into the
Man Ray
following decade, his
as portraitist,
work appeared
in
pages.
'or the
formed
and the in
magazine had enlisted
his
first
several months,
photographic
closet, furthermore,
Man compromised
activities in the
doubled up as
with his spare budget, and per-
confines of his hotel room.
his darkroom-laboratories.
worse of him. The wonderful, ceremonial group 1921
was posed
in this
very room, in
of the aforementioned literary
and
relax there. Within a short time,
and moved
to a
fact,
The bathroom
Nobody thought
portrait of the Paris Dadaists
hideous wallpaper and
art celebrities
found
little
however Man Ray was able
all,
and most
reason not to
sit
and
to accelerate his ante,
charming duplex studio-apartment on the rue Campagne-Premiere.
This remained his base of operations for several years to come. finally
home.
why Man Ray was awarded
Again you might ask Immediately must to
Man
was
Man Ray was
to
I
reiterate
Ray's arrival, the
don your
chair at
best
he was that proficient
main manner or
suit,
veil,
in
which
Manuel
have your personal
to
saidios.
instantaneous popularity.
the photographic calling. Prior
at
lace collar, or brooch,
one of the vanity photographic
Martinies or chez
this
and
done
portrait
so solemnly in the
The two grandest were
Whichever you picked, the
Freres.
sit
result
Henri
at
would be much
somewhat agonizing experience. Usually the turned out somewhere between whimsical and downright funereal rarely
the same: a stiff-backed, overly-posed, final print
was
â&#x20AC;&#x201D;
A
either extreme the bewildered sitters intention.
visit
chez
Man Ray was
entirely another experience.
Man
mused them. Each portrait was a art.
Ray, as
No two
I
sittings
were
in
state:
earlier text, did not take
separate
little
alike for him,
mate occasion. Neil Baldwin, set" that
an
adventure; the resultant print of a
and every separate
in his biography, likens
of "the sportsman out for a day in the
Man
Ray, as portrait photographer,
end of the mid-1920s, few the threshold of
Man
be created as love
was
then
If
sitting
Man Ray
field."
the
of the Parisian social
Ray's studio, to pose.
affairs,
photographs, but created
I
artistic
a form of
further elaborate
hunter, in love.
inti-
"mind
to a hunter, his
would
consummate
and
was
work of
By
and the
hierarchy had not crossed
intimate photographic encounters could
Man Ray was
the only Casanova (or Rasputin?) of
photography since the nineteenth century's grand master, Nadar. Surely of achievement in twentieth century portraiture.
in the annals
Man Ray would have no
equal.
Other photographers of the Parisian free-lance brigade would come and go with
The elegant Baron de Meyer was toasted in some George Hoyningen-Huene. The only one who emerged to overlap
their respective, insular clienteles. circles; similarly,
occasionally with
Man
own
Ray's
immediate coterie was his ex-apprentice
Berenice Abbott. Miss Abbott gained a definite popularity in Paris.
Her
portraits
among
the literary
were generally competent, even memorable from time
but rarely dynamic or lustrous. She tended to cease probing her subjects of their physical boundaries, rents.
Man
and
and
the edges
rarely penetrated to their psychological undercur-
souls.
As the years wore on, but always with painting as
Man Ray at least
ingly overlap, as in the results of
nuity
at
crowd
to time,
Ray, using their physical features as a point of departure, often exited just
short of their hearts
Meanwhile
assistant,
his
continued with photography as his profession,
an equal devotion. Often the two would
many
shiver-
of his experimentation's with solarization.
boundaries as photographer continued to expand. Quickly his inge-
was recognized and admired by
the fashion houses and from early
working closely with such glamour designers as
Poiret, Patou, le
on he was
Long, and
Mans
personal friend, Elsa Schiaparelli. Similarly, throughout the two decades preceding the
Second World War,
his
work was
Charm, Vogue, Harper's Bazaar,
etcetera,
Throughout these same two decades
avidly sought
by the fashion magazines:
both in Europe and back
Man became, and
in
New
York.
remained, the portrait-
photographer-laureate of Paris (and, conceivably, the entire world). His reputation
never retreated from the highest plateau, for not only did his technical consistently lofty, but his ever-imaginative
skill
remain
approach to innovative poses and
settings
never waned, and always there was the excitement of being his next subject.
Man dream
was as diverse as any single studio could ever Though he was not a lavish socializer, more a lone wolf in fact,
Ray's array of portrait subjects
to assemble.
he managed to meet, mingle with, and usually delight a cross-section of people from every stratum of society, and every corner of the subjects
was mostly
limited to writers
and
arts.
painters,
it
Where
his earliest portfolio of
soon spread
to the neighboring
constellations of architects,
Milhaud,
musicians, and composers (Satie, Stravinsky, Antheil,
Georges Auric;
Taillefene,
wonderful
the
indelibly
Clement Doucet and Jean Wiener, elegantly posed with pianos);
and
actors
and dancers and nightclub performers
double-portrait
their miniature
(Barbette, for example,
always the ebullient Kiki de Montparnasse, perhaps his most favorite subject of Greatness of reputation in
and
all!).
always the surest disperser of austere social barricades
is
From
the grander circles of Paris society.
accepted by one
of
practice
the early years onward,
aristocratic celebrity or family after another. First
came
Man was
the eccentric
but captivating Marquise Casati, then the supremely elegant Comte Etienne de
Beaumont who befriended our hero and his
and
gala parties
balls.
invited
Similarly did
Man
Greffuhle (once considered the most beautiful
who
used her as
role
model
for at least
him
to photographically immortalize
visit
the
woman
in
homes
of the Comtesse
France by Marcel Proust,
two of the more
scintillating
Guermantes
now on in years, but still youthful and inquisitive enough to teach her how to develop photographs in her personal, makeshift
ladies in his epic novel,
entreat
Man Ray
to
darkroom: a noble adventure indeed!). Also the Comte and Comtesse Pecci-Blunt, the Comtesse de Chevigne and her entourage, the recently
Gramont, and eventually the great patrons of the
Vicomte and Vicomtesse (Charles and Marie-Laure) de loyal
and encouraging
's
the 1920s
who
jokingly with the crash of the world's
cast
its
pall
upon
and many suffered accordingly. Luckily pher of the land, vanity the parade of clients
the charming,
Noailles,
convivial
remained ever-
friends.
ended
an immediate sobriety
arts,
widowed Duchesse de
still
economic markets,
the frivolities of the wild for
Man
and carefree
prevailed to outduel the dwindled pocketbook, and
wended
on. Surrealism
era,
Ray, as premier portrait photograstill
had superseded Dada, and new faces
appeared each successive season: Dali and Miro; de Chirico (now pioneer) and Tanguy; Meret Oppenheim. Rene Crevel, Magritte, Rene Char, Victor Brauner, the
ingenue Gisele Prassinos: an entire Generally, as the
was always Virginia
new
roll-call.
generation of talent emerged from their cocoons,
there with his camera to catch
them
Huxley.
in their glories:
Woolf and other Londoners passing through town
for a
visit:
Man Ray
T. S. Eliot,
visiting
grand
masters as Kurt Schwitters and Kandinsky; a never-aging Picasso, and graying but ever-twinkling Picabia. Hardly did the rustiness of the Depression years gready nish the sparkle of the personality parade that always
made
tar-
Paris the pinnacle city of
high style and excitement. Rarely did ters: artists
Man Ray
and
simply because
writers,
stray
from
Man Ray was
series of portraits
his limitless
glamorous people of
domains of preferred subject mat-
society.
he made of the
Socialist
autobiography (Self Portrait),
ated between those
who he
course (his usual studio
Man Ray
whom Man
spent parts of his
suggests that he strongly differenti-
charged for his photographic services as a matter of
clients),
and those
who he
photographed
and confederates,
admired. The exceptions were the few of the
exceptionally well-heeled, or the occasional person
was an example of
with the distinction).
this
for the sheer plea-
as well as
anybody
who were either Man felt had previ-
latter category-
whose
career
ously advanced as a result of earlier photographic assistance Stein
the
Prime Minister of France, Monsieur Leon
sure of their company: most personal friends truly
â&#x20AC;&#x201D;was
vacations.
In his
he
interesting exception
a particularly non-political world citizen
Blum, but Blum was a close, personal friend with
summer
One
on
his behalf (Gertrude
minute category, and evidently was not
at all
pleased
Sometimes Man cX,
Lewis subsequent to winning the Pulitzer Prize for
Windsor soon
after
her historic marriage, etcetera).
nity to immortalize the
Literature.
Once
did
grandeur of an important personage
the stately 1922 deathbed portrait of Marcel Proust. Again,
Man
moments of
Ray's portraits coincided with the greater
his sub-
careers or lives (James Joyce at the time of the publication of Ulysses, Sinclair
jects'
it
The Duchess of
Man have
at
the opportu-
the time of his death:
was
certainly a tribute to
was cho-
Ray's reputation that in this earliest period of his residency in Paris he
sen for
this
honor (hardly was
for a visiting
American
Throughout
sanctum bedroom the romping ground
was always an endless
his career as portrait photographer, there
schemes and suggestions by others concerning how Man could enhance
dribble of his career
Proust's inner
Dadaist!).
and
related earnings. Except for the inevitable acceptance of contracts with
fashion houses and fashion magazines, he politely excused himself from such offers.
One
more
of the
described to
diverting proposals
Hemingway
was
as "the wickedest
that proffered
man
description of the incident in his autobiography
is
by
worth the
Crowley (once
Aleister
in the world").
Man
bemused
Ray's
re-telling as follows:
whom I'd heard of in connecNew York. We were sitting in a
"There was a strange character, Aleister Crowley, tion with various suspect activities in
cafe with
some
friends;
he took
many wealthy women who came
â&#x20AC;&#x201D;why not
said
scope
in
tell
me to
London and
aside to speak
him
more
for horoscopes.
We
confidentially.
could work together, he
those that wished to be photographed that
I
required their horo-
order to portray them properly; on his side he would
client for a
horoscope
that
he needed a
portrait of
did not need the extra business, the proposition that, blessedly,
Man Ray
He knew
tell
a prospective
her to complete his analysis. As
was not adopted."
Suffice
it
I
to say
did not need to resort to gimmickry to assert the novelty of
the grandeur of his talent.
As
many
a final note,
I
must make
other photographers,
brief
Man
mention of the studies
Ray's
abridged autobiography of his entire adult study shows us a well-dressed
man
life.
of
Man
of himself created
The
approaching
self-portraits
Ray. Unlike
a
miniartire,
early (1924), rather formal self-
thirty-five years
of age
who was
caught in the void between early success and related lingering doubts as to the course of his future destiny. Later his
changing milieux: in the
proud
porters, activity
back
not so analytic,
surrealists' midst, at the
in his studios, etcetera.
dignified Paul Eluard,
self-portraits,
The
one of Man
in military attire after
and achievement, resigned
most cherished
twenty to
go
civilian years
Man
Ray's
tales,
in
balls, relaxing in cafes,
to
war
Paris friends
and
loyal sup-
again. liaisons of the present cen-
two decades of mutual love and admiration, between the two wars,
with and within the dreams and romantic
Man Ray
of merry and meritous poetic
Thus was one of the most beautiful and purposeful tury.
us
study presented here depicts a sober and
final
Ray's
grand
show
we
realities
of the Ville de Paris. Unlike most such
have a vivid visual record of
moments: Man Ray's
Paris portraits, hopefully
these pages once again.
all
of
its
characters
brought back to
life
for
and great
you within
1.
Philippe Soupault. 1921. Pioneer
where Man Ray had from America.
his
first
Dada poet and editor; co-owner of the bookshop gallery. Librairie Six, one-man exhibition in December 1921. the same year as his arrival
Paris
2.
A Group ofParis Dadaists, gant Paris
Dada
Ribemont-Dessaignes;
Charchoune.
1921. Fun-loving, but always interesting
brigade! Seated, from
standing:
left
Paul
and
intelligent as well, the zany, ele-
Georges and Serge
to right: Paul Eluard. Jacques Rigaut. "Mick" Soupault.
Chadourne.
Tristan
Tzara.
Philippe
Soupault
3.
Gertrude Stein
anyone
and Alice B.
Toklas. 1921.
A
chapter unto
They didn't leave until almost everyone remembered and admired accordingly. else.
They arrived and settled had already departed. They
itself.
else
in before will
most
always be
4.
Georges Braque, 1922.
Man Ray met and photographed them
strong, continuing his work amidst the uncertainty of bled upon the madcap, postwar Paris scene, undaunted.
and
all
all
(well, almost). Braque.
proud and erect
the newer tendencies and movements tum-
5.
Pierre Mac Orlan. 1922. Novelist
and man of
letters,
member
of the ever-carefree Montparnasse cafe
set.
6.
Marie Lcutrencin, 1922. One might wonder to cross
as well.
Man
at
how
the painter of such bourgeois subjects
Ray's threshold, but never forget that she frolicked with Picabia
would come
and Guillaume
Apollinaire.
7.
Paul Ehiard.
whom
1922. Another
member
of the original Paris
Dada group;
he collaborated on such seminal works as Les Mai) is Libres and
close friend of
Facile, until his
Man
Ray, with
death in 1952.
8.
James Joyce,
1922. (Quintessential!) Irish expatriate writer in Paris. This portrait
time of the publication of
Ulysses.
made
at
the approximate
9.
Georges Ribemont-Dessaignes, 1922. Another of the most renowned poets of the Dada and groups; similarly (after Picabia. alongside Suzanne
Mechanical" painters of the time.
Duchamp and Jean
Crotti).
one of the most
surrealist
proficient
10.
Juan to
Gris, 1922. "In the early clays
Gertrude Stein brought Juan Gris to
be photographed with a high white
stiff collar,
as
if
my
studio.
for a family portrait..."
He came
prepared
11.
Marcel Proust on Ray
bis
Deathbed, 1922. At the suggestion of Jean Cocteau, the Proust family allowed
to enter the inner
sanctum of
their son's
(and brother's) bedchamber to
make
Man
this historic portrait
12.
Andre Derain
at his
the 3. One of Man Ray's favorite friends outside love for tailor-made clothing and fast-moving motorcars.
Drawing Board 1922
surrealist circle, sharing a
common
Dada/
13.
Jacques Rigaut,
c.
able, capricious: his cafe-society
1923.
Ah
he died by
yes. the his
world choked
charming and debonair Jacques Rigaut. Elegant, witty, personafter the Stock Market crash in 1929, the glamour of
own hand soon
to a halt,
and he
in
mourning.
14.
Benjamin in e\
est
Peret.
c.
en sense of
and oldest
1923. Another of the talented Dada/surrealist poets fraternity.
was companion
the word, he
fighting
'.
greatly
admired by Breton
who
later
A true
revolutionary
described him as his "dear-
15.
Edna
St.
Vincent Millay,
tographed
c.
1923. Celebrated
in this ideal Paris setting
during a
American poetess of the teens and twenties, pho-
visit
with expatriate friends.
16.
Robert Desnos, after
c.
1923. So
being discovered
in a
much
to say; so
little
time to say
it.
Born
in Paris. 1900;
Czechoslovakian concentration camp (Terezin)
tion, 1945. Ingenious, unforgettable surrealist personality
at
died a short time
the time of the Libera-
and poet, from one World War
to the other.
17.
Margaret Anderson andJane Heap, 1923 4. Coeditors of The Little Review, one of the most influential little magazines" of the 1920s. Founded by Anderson in Chicago in 1914, the magazine subsequently moved to New York, and then in 1923 to Paris. Between 1918 and 1920 The Little Review published Joyce's Ulysses
in
twenty-three installments, three issues of which were confiscated by the
U.S postal authorities: "Like a burning
at
the stake." according to Miss Anderson.
18.
Georges Auric, 1923/4. Avant-garde composer, Tailleferre
and
member
of "les Six" (with Milhaud. Honegger. Durey.
and Poulenc), and collaborator with various Dada and
Eluard.
surrealist poets including
Aragon
19.
Kiki de Montparnasse
and
and Friend,
peer. Therese Treize.
More
c.
1924. Originally "the friend"
was assumed
to
be
Kiki's great pal
careful research suggests her identity as the fabled "Youki" (born
Lucie Badoul). model and mistress of the twinkling Foujita. later the mistress, then wife of the enig-
matic Robert Desnos.
»^^y
i 1
;x<^ 3#^
V
m
—jj
20. Erik Satie. 1924.
modern music in France, adored some whimsical sort of spiritual friend
This charming, witty, superbly talented patriarch of
by Man Ray and his fellow Dadaists and serving for them and father. He died the year following this portrait sitting.
as
21. Barbette. 1924. Actual
name: Vander Clyde; Place of
high wire and trapeze, both
in circuses
and the
birth:
Round Rock.
greatest nightclubs
Texas. "Artiste supreme" of the and cabarets of the day. always in
superb, exquisite female costume, always diwilging the secret of his identity with muscular torso bared
and wig
in
hand
at
the
end of the performance.
22. Tristan Tzara, 1924.
A
Dadaist
but proud and relaxed in the
in exile at this
company
of
juncture of time (the year that surrealism superseded Dada),
Man
Ray, his lifetime admirer and ever-supportive friend.
23. Self-Portrait. 1924.
Probably the most formal and appealing of
all
of
Man
Ray's self-portraits: stylishly
elegant courtesy of his suddenly-evolved success as a major fashion photographer; faintly confounded
by the diminishment of
now
surrealist cronies.
his cherished activities as artist
and
related carefree dalliances with his Dada,
Aragon and Andre Breton, c. 1924. Literary allies and close personal friends, both were among who abandoned Paris Dada in favor of surrealism (as founded by Breton in 1924, with Aragon and Soupault as his loyal lieutenants).
24. Louis
the original group
25.
Helene Perdriat. ballet,
c.
Marcband
1925. Writer
and
painter, her versatility
d'oiseaux, presented
by Les
was exemplified by the production of her which she also designed the sets.
Ballets Suedois, for
26.
Raymond Queneau, with Breton as
"for
an important
1925. Surrealist writer (twenty-three years old at the time of this sitting),
personal reasons" novelist.
(i.e.
non-political)
who
by the end of the 1920s, and continued
broke
his career
27.
Janine, 1924/5. Described on a label affixed to verso: "JAXIXE. one of PATOU's French mannequins,
wearing a day ensemble
for Spring, 1925... Please credit
MAN
RAY." Business, as pleasure.
28.
Rene
Crerel.
c.
1925.
"ultimate surrealist".
The
"enfant terrible" of the surrealist poets, he
When
he chose
to take his
inscribed with a single word: "Degoute ".
life at
was regarded by Breton
the age of thirty-five, he
left
as
an
behind a note
29.
Marcel Ducbamp and Comte Raoul de Roussy de Sales Playing Chess title. I
think,
tells
it
all.
in
Man Rays Studio.
1925.
The
30.
Gertrude Stein, 1925 6. Like a heroine from the sagas of the Old West, this handsome portrait of one of the earliest settlers and dynastic matriarchs of the expatriate colony in Paris.
31
.
Sinclair Lewis. 1925. (for
Taken
at
Arrowsmith). Five years
the time of his
later
visit to
he became the
Paris following his reception of the Pulitzer Prize
first
American
to
win the Nobel
Prize for Literature.
32. Unidentified
American
Premiere. to return to
c. 1925. They came in droves, calling at 31bis Rue CampagneMemphis. Philadelphia or mansions along Fifth Avenue with the in hand: their photographic portrait by Man Ray
Society Lady. St.
Louis.
ultimate Paris souvenir of the era
33-
Hauelock Ellis, 1925 6. Another of the writers from across the Channel. Man Ray was surely fascinated this wizened gentleman, writer and psychologist, author of the seven volume Studies in the
by
Psychology of Sex at which
Ellis
had
toiled for over thirty years.
34. Kiki (en
6. Kiki was by far Man Ray's most versatile and obliging model in the most of the famous portraits present her in enticingly scanty attire or entirely rather formal image allows us a glimpse of the fuller range of her adaptable personality-
cbapeau), 1925
twenties. Although
naked,
and
this
repertoire.
35-
Wiener and Doucet, 1926. Jean Wiener (bespectacled) and Clement Doucet (content and well-fed) alternated as pianists at the honest 1920s club in Paris, Le boeuf sur le
works and
jazz.
toit.
playing both classical
36.
Kay Boyle,
c.
1926.
American expatriate short story writer "par excellence".
37.
Joan Miro, 1926
(or early 1930s?). Almost every
1930 or 1933- After conferring with Paris),
I'll
go along with
Billy
book
their well-researched
presence of a highly amused
Man
famous photograph dates
approximation of 1926 (the year
threatened to hang Miro with a thick-coiled rope in the
that cites this
it
as
Kluver and Julie Manin (co-authors of the marvelous Kiki's
Ray).
if
Max
Ernst jokingly
he didn't learn to become more conversational,
38.
Maty Butts, magic, and
1927. English expatriate short story writer and novelist,
whose work, long
forgotten,
is
who dabbled
blessedly being reprinted
in
drugs and black
and enjoyed once
again.
39-
Comtesse
Anna de
Noailles, 1927. Referred to
ever possessed", she lived her
last
Flanner: "The funeral floral offerings could not
flowed onto the porch and
by Janet Flanner
as:
"the greatest poetess France has
years in seclusion, and died at the age of fifty-nine. According to
steps..."
all
be contained even
in the vast
Madeleine but over-
40.
Aldous Huxley,
c.
and writers world.
Man Ray photographed almost all important visitors to Paris from the Among his British visitors were Huxley, the Anglo/ American T.S. Eliot, and
1928.
surprisingly, the shy
and reclusive
Virginia Woolf.
artists
rather
41.
Duchesse de Gramont, third wife of the still
in
her
late 1920s.
A
Due de Gramont
thirties,
she
is
daughter of the ancient Ruspoli family of Rome, she became the the age of seventeen. Here, still appearing quite youthful and
at
already a widow.
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Y k
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>
>' » ^ IL
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*k,
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til •
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frl ^
42.
A Group of surrealists at Tzara s House, 1930. From Man Ray; rear: Eluard. Arp. Tanguy and Crevel.
left
to right, front row: Tzara. Breton. Dali. Ernst.
43. Wassily
Kandinsky, 1930. Again, the welcome mat always
great ones should arrive in town.
at
the studio door
The honor was almost always mutual.
when
another of the
44.
Andre Breton
(solarized),
c.
1930. This
was one of
the earliest, and most highly successful, of
Man
Ray's "solarized" portraits. Burnishing the negative (usually of the glass plate variety) with a flash or
bead of intense
light,
he could highlight the image by outlining or distorting
caused the negative to become single solarized subject.
much more
fragile
than usual, and not
many
The technique were made of any
at will.
prints
45.
Marie-Berthe Aurenche, 1930/1.
abandoned by
Ernst
Leonora Carrington.
who
Max
Ernst's
second (of
four,
and only French)
wife, eventually
turned his attention instead to the young English surrealist painter.
46.
Rene Char, 1932/3- A decade younger than Breton. Eluard & Co., he first entered the in 1929. and remained one of the integral poets of the group from that time forth.
surrealist ranks
47.
Meret Oppenheim at the Printer's Wheel (z\so
ment of an print
known
as Erotique Yoilee), 1933-
interesting "shoot" at Marcoussis's etching atelier.
(one originating from
Man
Ray's
own
from 1933 which subsequently appeared
in
private collection)
Note is
that
dated 1935.
Minotaure magazine. No.
The pinnacle achieve-
even though
5 (in
it
May
this particular
actually 1934).
is
an image
48.
Lady Diana Duff Cooper (solarized). attempting a career as an actress British
ambassador
to France.
Man Duke of
1934. Another of
Originally Lady Diana Manners, daughter of the in films.
Ray's elegant visitors from England.
Rutland, she shocked her peers by
She married Alfred Duff Cooper,
who
later
became
the
49. Elsa Schiaparelli (solarized), 1934.
her non-aging "gamine" look.
The simple, small
hat of her
own
design, perfecting the purity of
50. Gisele
Prassinos Reading her Poems to
always specialists
in the art
Members of the surrealist Group,
1934/5.
The
surrealists
were
of "discovery". Here a solemn Breton and his twinklingly discerning
cronies pay careful attention to their newest protegee, fifteenth birthdays, with her brother looking
Prassinos, Andre Breton, Henri young poetess herself.
on
somewhere between her fourteenth and From left to right: Jean-Marie
in rapt admiration.
Parisot, Paul Eluard (seated),
Benjamin
Peret.
Rene Char and the
Hugo), 1935/6. The epitome of the possibilities offered by the solarizaHugo, an important surrealist painter, was also an important muse to her Breton and Eluard who thrived on her approving nods.
51. Solarized Profile (Valentine
tion technique. Valentine
peers, in particular
52.
artist, poet and editor (his magazine. 391, the ultimate Perhaps the only artist (outdistancing even Picasso?) who journeyed through every major tendency in 20th Century painting, including Post-Impressionism and Post-War abstraction.
Francis Picabia,
c.
publication of the
1935. Multi-talented
Dada
years).
53- Lily, c. 1935.
A
pretty face?
nious printing technique,
is
A
passing fancy? That, intermingled with the added mystique of an inge-
what separates
a
Man Ray from any
other photograph or photographer!
54.
Leon Blum. 1935/6. Leader of the French
Man Ray
Socialist Party;
devoted personal friend and admirer of
55.
Miriam Hopkins, 1936. Man Ray's portraiture output diminished towards the end of the always had time to set up for and welcome an interesting or vivacious new visitor.
1930s, but
he
56.
Paul Eluard
in Uniform. 1939-
a Swiss sanatorium recovering after
The
full circle.
Called
up
at the
end of
from tuberculosis. Eluard served
at
1914. after almost
the front, then
was
two years
in
hospitalized
being gassed. During a leave in 1917 he married an unforgettable young Russian. Helene Dim-
Diakanova. who he had met in the Davos sanatorium and upon whom he had bestowed the nickname "Gala". The marriage survived until 1930 when Gala succumbed to the bewitchment cast by a persistent and charming young Spaniard who had entered her life, and finally enjoined with the Spaniard. Senor Salvador Dali. Eluard grew to become the other most illustrious poet of the Dada surrealist era. alongside Breton. In 1939. with the threat of war become a reality. Eluard was mobilized a second time, and rejoined his regiment. The following year. Man Ray. as so many others, departed his beloved Paris as well: "With a farewell look at my studio and the feeling that I would never see it again, that twenty years of work was being wiped out. I locked the door." itrovnia
1.
Philippe Soupault, 1921.
2.
A Group of Paris Dadaists.
3.
Gertrude Stein
4.
Georges Braque, 1922.
5.
Pierre
Mac
and Alice B
Marie Laurencin. 1922.
7.
Paul
8.
James Joyce,
10.
1921.
F.luard. 1922.
1922.
11
Marcel Proust on his Deathbed, 1922.
Andre Derain
13.
Jacques Rigaut.
15.
Edna
Kikiten chapeau). 192S 6
35.
Wiener and Doucet, 1926.
36.
Kay Boyle,
at his
Drawing Board,
38.
Mary Butts.
Comtesse Anna de Noailles, 1927.
40.
Aldous Huxley,
1927.
c.
1928.
1922/3. 41.
Duchesse de Gramont,
42.
^4
late 1920s.
Group of surrealists at Tzara
's
House. 1930.
1923
c.
Vincent Millar,
Desnos,
1926.
c.
1923.
c.
Peret.
192^ 6
Ellis.
39.
43. Wassily St.
16. /tofoer?
17.
Havelock
34.
1925.
c.
yi.JoanMiro, 1926 (or early 1930s).
12.
Benjamin
American Society Lady,
33.
Gris, 1922.
14.
Stein. 1925/6.
32. Unidentified
Georges Ribemont-Dessaignes. 1922.
Juan
Gertrude
31. Sinclair Lewis, 1925.
Toklas, 1921.
Orlan, 1922
6.
9.
30.
c.
Kandinsky, 1930.
1923.
44
Andre Breton
45.
Marie-Berthe Aurenche, 1930
46.
Rene Char. 1932
47.
Meret Oppenheim at the Printers Wheel also known as
(solarized),
c.
1930.
1923.
c.
Margaret Anderson and Jane Heap, 1923/4.
18.
Georges Auric, 1923/4.
19.
Kiki de Montparnasse
and Friend,
c.
1924.
1
3.
(
Erotique
Voilee), 1933.
20. ErikSatie, 1924.
48.
Lady Diana Duff Cooper (so\avized),
1934.
21. Barbette, 1924.
49. £7sa
Schiapa rel
'I
i
(solarized). 1934.
22. Tristan Tzara, 1924. 50. Gisele Prassinos 23. Self-Portrait. 1924.
Louis Aragon
25.
Helene Perdriat,
26.
c.
c.
1924.
Raymond Queneau,
Solarized Profile (Valentine Hugo), 1935/6.
52.
Francis Picabia.
c.
1935.
1925. 53. £<&>, c. 1935.
29-
/tew Crewel
c.
54.
£eo« fl/wm, 1935/6.
55.
Miriam Hopkins,
56.
PaulEluard
1925.
Marcel Duchamp and Comte Raoul de Roussy de Sales Playing Chess in
Members of
51.
1925.
27. Janine. 1924/5. 28.
to
surrealist Group, 1934/5.
and Andre Breton,
24.
Reading her Poems
Man
Ray's Studio, 1925.
1936.
in Uniform, 1939.
the