Man Ray Life and Art Periods

"Nature does not create works of art. It is we, and the faculty of interpretation peculiar to the human mind, that see art."

MAN RAY SYNOPSIS

Man Ray's career is distinctive above all for the success he achieved in both the United States and Europe. First maturing in the center of American modernism in the 1910s, he made Paris his home in the 1920s and 1930s, and in the 1940s he crossed the Atlantic once again, spending periods in New York and Hollywood. His art spanned painting, sculpture, film, prints and poetry, and in his long career he worked in styles influenced by Cubism, Futurism, Dada and Surrealism. He also successfully navigated the worlds of commercial and fine art, and came to be a sought-after fashion photographer. He is perhaps most remembered for his photographs of the inter-war years, in particular the camera-less pictures he called 'Rayographs', but he always regarded himself first and foremost as a painter.

MAN RAY KEY IDEAS

Although he matured as an abstract painter, Man Ray eventually disregarded the traditional superiority painting held over photography and happily moved between different forms. Dada and Surrealism were important in encouraging this attitude; they also persuaded him that the idea motivating a work of art was more important than the work of art itself.
For Man Ray, photography often operated in the gap between art and life. It was a means of documenting sculptures that never had an independent life outside the photograph, and it was a means of capturing the activities of his avant-garde friends. His work as a commercial photographer encouraged him to create fine, carefully composed prints, but he would never aspire to be a fine art photographer in the manner of his early inspiration, Alfred Stieglitz.
André Breton once described Man Ray as a 'pre-Surrealist', something which accurately describes the artist's natural affinity for the style. Even before the movement had coalesced, in the mid 1920s, his work, influenced by Marcel Duchamp, had Surrealist undertones, and he would continue to draw on the movement's ideas throughout his life. His work has ultimately been very important in popularizing Surrealism.
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MOST IMPORTANT ART

TITLE: The Enigma of Isidore Ducasse (1920)
The Enigma of Isidore Ducasse(1920)
Artwork Description & Analysis: This early, assisted readymade (a found object slightly altered) was created a year before Man Ray left for France. Marcel Duchamp's influence and assistance are evident in this Dada object, in which a sewing machine is wrapped in an army blanket, and tied with a string. The title comes from French poet Isidore Ducasse (1846-70) and the imagery comes from a quote in his book Les Chants de Maldoror (1869): 'Beautiful as the chance meeting, on a dissecting table, of a sewing machine and an umbrella'. Chance effects were important to the Dada artists, and the piece is very much in that spirit, but it also prefigures the Surrealists' interest in revealing the creative power of the unconscious. The original object was created and then dismantled after the photograph was taken. Ray did not reveal the 'enigma' under the felt and intended the photograph as a riddle for the viewers to solve with the title providing a hint.

Object wrapped in felt and string - National Gallery of Australia, Parkes (reconstructed in 1971)

  • The Enigma of Isidore Ducasse(1920)
  • Le Cadeau (The Gift)(1921)
  • Rayography (The Kiss)(1922)
  • Indestructible Object (or Object to Be Destroyed)(1923)
  • Le Violon d'Ingres (The Violin of Ingres)(1924)
  • Noire et Blanche (Black and White)(1926)
  • Les Larmes (Glass tears)(1932)
  • <i>l'Heure de l'Observatoire: les Amoureux</i> (Observatory Time: The Lovers)(1936)
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MAN RAY BIOGRAPHY

Childhood

Man Ray was born as Emmanuel Radnitzky in 1890 to a Russian-Jewish immigrant family in Philadelphia. His tailor father and seamstress mother soon relocated the family to the Williamsburg neighborhood of Brooklyn, New York, where Ray spent most of his childhood. His family changed their surname to Ray due to the fear of anti-Semitism. His name evolved to Man Ray after shortening his nickname, Manny, to Man. He kept his family background secret for most of his career, though the influence of his parents' occupations is evident in many of his works.

In high school, Ray learned freehand drawing, drafting and other basic techniques of architecture and engineering. He also excelled in his art class. Though he hated the special attention from his art teacher, he still frequented art museums and studied the works of the old masters on his own. Such self-motivation from the early age proved to be a solid grounding for the versatility he showed throughout his artistic career. Upon graduating from high school in 1908, he turned down a scholarship to study architecture, and began pursuing his career as an artist.

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Early Training

Man Ray Biography

In his studio at his parents' house, he worked hard towards becoming a painter while taking odd jobs as a commercial artist. He familiarized himself with the world of art by frequenting art galleries and museums in New York City and became attracted to contemporary avant-garde art from Europe. In 1912, he enrolled in the Ferrer School and began developing as a serious artist. While studying at this school that was founded by libertarian ideals, he met his first influential teachers and artists like Robert Henri, Samuel Halpert, Max Weber, and Adolf Wolff and was surrounded by those with anarchist ideas, which helped shape his own ideology.

After briefly sharing a small studio in Manhattan with Adolf Wolff, Man Ray moved to an artist colony in New Jersey in the spring of 1913 just across the river from Manhattan. He shared a small shack with Samuel Halpert, who inspired Ray as a painter to develop ideas and techniques that would later become a foundation for his career. During this time, he frequented the 291 Gallery in New York City. Ray developed a close personal relationship with the gallery owner and photographer, Alfred Stieglitz, who introduced Ray to photography. Ray met a Belgian poet, Adon Lacroix (aka Donna Lecoeur) in New York, and they married in 1914. In 1915, Ray met Marcel Duchamp who was visiting the colony with Walter Arensberg and they soon developed a lasting friendship. This new friendship helped define Ray's interest in the subject of movement and guided his focus to Surrealism and Dada.

In the early period of Ray's career, he painted in the Cubist style. His first solo show at the Daniel Gallery in 1915 featured thirty paintings and a few drawings. The paintings were a mixture of semi-representational landscapes and abstract paintings of "Arrangements of Forms"; these abstract works showed his developing interest in analytical and cerebral method of working. By this time, he had more inventory of works in his studio than he could keep track of. He started photographing his paintings as documentation and experimenting with the camera as an artistic tool.

With Duchamp, Ray made multiple attempts to promote Dada in New York. They founded the Society of Independent Artists in 1916 and published a single issue of New York Dada in 1920. In the same year they founded the Societe Anonyme, Inc. with Katherine Dreier, a prominent art collector. Societe Anonyme was the first museum to devote itself to displaying and promoting modern art in America, preceding The Museum of Modern Art by nine years. However, due to the lack of public enthusiasm for Dada art in New York, and his failed marriage to his first wife, Ray was despondent. With encouragement from Duchamp, Ray moved to Paris in 1921.

Mature Period

Man Ray Photo

Ray lived for the next 18 years in the Montparnasse quarter of Paris where he met important thinkers and artists, including James Joyce, Gertrude Stein, Jean Cocteau, and Antonin Artaud. He also met a famous performer, Kiki of Montparnasse, who became his lover and frequent subject in his work for six years. His most influential works such as Indestructible Object (or Object to Be Destroyed), Noire et Blanche (Black and White), Glass Tears, and most of his Rayographs, as well as his fashion photography for Vogue and Vanity Fair were produced during this time.

In 1929 Man Ray hired Lee Miller as an artist assistant. She soon became his lover and the subject in his photographs for three years. Together, they reinvented 'solarization', a photographic process that records images on the negative reversing dark with light and vice versa.

While trying to develop his photographs in the dark room, Ray accidentally discovered a technique called 'shadowgraph' or 'photogram', a process also known as camera-less photography using light sensitive paper. He dubbed this style 'Rayogram' or 'Rayograph'. He explored this technique for more than 40 years, in the process creating many of his most important works including two portfolio books entitled Champs delicieux and Electricite.

Though many of his famous works are in the field of photography, he worked in a variety of media, including painting, writing and film. Between 1923 and 1929 he directed multiple avant-garde short films and collaborated on films with Marcel Duchamp and Fernard Léger. He also collaborated with Paul Eluard to make the books Facile and Les Mains Libres.

Late Years and Death

Man Ray Image

In 1940, Ray was forced to leave France because of the war, and moved to Los Angeles where he met his last wife, Juliet Browner. They married in 1946.

In the fall of 1944, Ray had his first retrospective at the Pasadena Art Institute, showcasing his paintings, drawings, watercolors and photographs from his thirty-year span as an artist. He had a successful career as a photographer while in Hollywood, but he felt the city lacked stimulus and the kind of appreciation he desired. Even though he was back home in the U.S., Ray thought American critics could not understand him, believing his ability to go from one medium to another and his success in commercial photography confused them.

Ray longed to go back to Montparnasse where he felt at home, eventually returning in 1951. Upon his arrival, he began writing his autobiography to explain himself to the people who he alleged misunderstood and misrepresented his work. The resulting Self-Portrait was published in 1963.

Right up until his death at the age of 86, he continued working on new paintings, photographs, collages and art objects. He died of a lung infection in 1976.

MAN RAY LEGACY

Though often shadowed by his lifelong friend and collaborator, Marcel Duchamp, Man Ray played a major role in Dada and Surrealist movements in America as well as in Europe. His multiple attempts to promote avant-garde art movements in New York widened the horizons of the American art scene. His serious yet quirky imagery has influenced a broad audience through different iterations of his work in pop culture. Many of his important works were donated to museums around the world through a trust set up by his wife before her death in 1991. Most importantly, his process-oriented art making and versatility have influenced a number of modern and contemporary artists, from Andy Warhol to Joseph Kosuth, who like Ray strove to continually blur the boundaries between artistic disciplines.

Original content written by Jin Jung
. [Internet]. . TheArtStory.org website. Available from:
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MAN RAY QUOTES

"To create is divine, to reproduce is human."

"I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence."

"A camera alone does not make a picture. To make a picture you need a camera, a photographer and above all a subject. It is the subject that determines the interest of the photograph."

Man Ray

Man Ray Influences

Interactive chart with Man Ray's main influencers, and the people and ideas that the artist influenced in turn.

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Paul Cézanne
Paul Cézanne
Paul Cézanne was an influential French Post-Impressionist painter whose depictions of the natural world, based on internal geometric planes, paved the way for Cubism and later modern art movements.
TheArtStory - Modern Art GuideModern Art Information Paul Cézanne
Auguste Rodin
Auguste Rodin
The French artist Auguste Rodin is often considered the father of modern sculpture. His diverse oeuvre includes traditonal styles, strongly allegorical work, and the fragments and textured physicality that are hallmarks of modernism.
TheArtStory - Modern Art GuideModern Art Information Auguste Rodin
Henri Matisse
Henri Matisse
Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making.
TheArtStory - Modern Art GuideModern Art Information Henri Matisse
Marcel Duchamp
Marcel Duchamp
The French artist Marcel Duchamp was an instrumental figure in the avant-garde art worlds of Paris and New York. Moving through Dada, Surrealism, readymades, sculpture, and installation, his work involves conceptual play and an implicit attack on bourgeois art sensibilities.
TheArtStory - Modern Art GuideModern Art Information Marcel Duchamp
Francis Picabia
Francis Picabia
Francis Picabia was a French artist who worked in Dada, Surrealist, and abstract modes, often employing language and mechanical imagery. He published the Dada journal 391 in Barcelona and America.
TheArtStory - Modern Art GuideModern Art Information Francis Picabia
Pablo Picasso
Pablo Picasso
Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics.
TheArtStory - Modern Art GuideModern Art Information Pablo Picasso
Salvador Dalí
Salvador Dalí
Salvador Dalí was a Spanish Surrealist painter who combined a hyperrealist style with dream-like, sexualized subject matter. His collaborations with Hollywood and commercial ventures, alongside his notoriously dramatic personality, earned him scorn from some Surrealist colleagues.
TheArtStory - Modern Art GuideModern Art Information Salvador Dalí
Alfred Stieglitz
Alfred Stieglitz
Alfred Stieglitz was an American photographer who published the pioneering journal Camera Work. His gallery 291 was a locus for modern artists in America.
TheArtStory - Modern Art GuideModern Art Information Alfred Stieglitz
Cubism
Cubism
Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline. This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas.
TheArtStory - Modern Art GuideModern Art Information Cubism
Dada
Dada
Dada was an artistic and literary movement that emerged in 1916. It arose in reaction to World War I, and the nationalism and rationalism that many thought had led to the War. Influenced by several avant-gardes - Cubism, Futurism, Constructivism, and Expressionism - its output was wildly diverse, ranging from performance art to poetry, photography, sculpture, painting and collage. Emerging first in Zurich, it spread to cities including Berlin, Hanover, Paris, New York and Cologne.
TheArtStory - Modern Art GuideModern Art Information Dada
Surrealism
Surrealism
Perhaps the most influential avant-garde movement of the century, Surrealism was founded in Paris in 1924 by a small group of writers and artists who sought to channel the unconscious as a means to unlock the power of the imagination. Much influenced by Freud, they believed that the conscious mind repressed the power of the imagination. Influenced also by Marx, they hoped that the psyche had the power to reveal the contradictions in the everyday world and spur on revolution.
TheArtStory - Modern Art GuideModern Art Information Surrealism
Bill Brandt
Bill Brandt
Bill Brandt was an British photographer and photojournalist known for his high-contrast images of British society and his distorted nudes and landscapes. Brandt assisted in Man Ray's Paris studio in 1930.

Modern Art Information Bill Brandt
Andy Warhol
Andy Warhol
Andy Warhol was an American Pop artist best known for his prints and paintings of consumer goods, celebrities, and photographed disasters. One of the most famous and influential artists of the 1960s, he pioneered compositions and techniques that emphasized repetition and the mechanization of art.
TheArtStory - Modern Art GuideModern Art Information Andy Warhol
Laszlo Moholy-Nagy
Laszlo Moholy-Nagy
Laszlo Moholy-Nagy was a Hungarian painter, photographer and teacher at the Bauhaus School. Moholy-Nagy was influential in promoting the Bauhaus's multi- and mixed-media approaches to art, advocating for the integration of technological and industrial design elements.
TheArtStory - Modern Art GuideModern Art Information Laszlo Moholy-Nagy
Irving Penn
Irving Penn
Irving Penn was a fashion photographer. Penn worked for many years for Vogue magazine, founding his own studio in 1953. He was among the first photographers to pose subjects against a simple grey or white backdrop. He became known for his post World War II feminine chic and glamour photography.

Modern Art Information Irving Penn
Richard Avedon
Richard Avedon
Richard Avedon was an American photographer. In 1946, Avedon set up his own studio and began providing images for Life and Vogue magazines. He became the first staff photographer for The New Yorker in 1992. The International Center of Photography awarded him the Master of Photography Award in 1993.

Modern Art Information Richard Avedon
Pop Art
Pop Art
British artists of the 1950s were the first to make popular culture the dominant subject of their art, and this idea became an international phenomenon in the 1960s. But the Pop art movement is most associated with New York, and artists such as Andy Warhol, who broke with the private concerns of the Abstract Expressionists, and turned to themes which touched on public life and mass society.
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Conceptual Art
Conceptual Art
Conceptual art describes an influential movement that first emerged in the mid-1960s and prized ideas over the formal or visual components of traditional works of art. The artists often challenged old concepts such as beauty and quality; they also questioned the conventional means by which the public consumed art; and they rejected the conventional art object in favor of diverse mediums, ranging from maps and diagrams to texts and videos.
TheArtStory - Modern Art GuideModern Art Information Conceptual Art
Modern Photography
Modern Photography
Modern photography refers to a range of different approaches. Some, associated with 'Straight Photography,' celebrate clarity and documentary truthfulness. Others, associated with 'New Vision' photography, are often characterized by unusual perspectives, novel print techniques, and abstraction.

Modern Art Information Modern Photography
Futurism
Futurism
Futurism was the most influential Italian avant-garde movement of the twentieth century. Dedicated to the modern age, it celebrated speed, movement, machinery and violence. At first influenced by Neo-Impressionism, and later by Cubism, some of its members were also drawn to mass culture and nontraditional forms of art.
TheArtStory - Modern Art GuideModern Art Information Futurism
André Breton
André Breton
André Breton, author of the 1924 Surrealist Manifesto, was an influential theorizer of both Dada and Surrealism. Born in France, he emigrated to New York during World War II, where he greatly influenced the Abstract Expressionists.
TheArtStory - Modern Art GuideModern Art Information André Breton
Walter Arensberg
Walter Arensberg
Walter Arensberg was an American art collector, critic and poet. His father was part owner and president of a crucible steel company. With his wife Louise he collected art and supported artistic endeavors.

Modern Art Information Walter Arensberg
James Joyce
James Joyce
James Joyce was an Irish novelist and poet. He is best known for Ulysses (1922), a landmark novel that exhibited his stream of consciousness technique. Joyce's other major works include Dubliners (1914), A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939).

Modern Art Information James Joyce
Gertrude Stein
Gertrude Stein
Gertrude Stein was an American writer and supporter of the arts whose Paris salons were key sites for avant-garde art in the early twentieth century. She built one of the earliest collections of modern art, including works by Matisse, Picasso, Braque, and others.

Modern Art Information Gertrude Stein
Jean Cocteau
Jean Cocteau
Jean Cocteau was a French poet, novelist, dramatist, designer, playwright, artist, and filmmaker. Along with other avant-garde artists of his generation Cocteau grappled to define the paradox of classical avant-garde. His circle of associates, friends and lovers included Pablo Picasso, Jean Hugo, and Coco Chanel.

Modern Art Information Jean Cocteau
Antonin Artaud
Antonin Artaud
Antonin Artaud was a French playwright and poet influenced by Surrealism, whose "Theater of Cruelty" strove to reveal hidden truths about man through disorienting, often violent theatrical techniques.

Modern Art Information Antonin Artaud
Lee Miller
Lee Miller
Lee Miller was an American photographer and former fashion model who, while living abroad in Paris during World War II, became well known as a war-time correspondent for Vogue, covering the London blitz, the liberation of Paris, and the concentration camps of Buchenwald and Dachau. Prior to the war, Miller was a notable apprentice of the Surrealist Man Ray, during which time she was instrumental in revolutionizing the photographic technique of solarization.

Modern Art Information Lee Miller
Fernard Léger
Fernard Léger
Influenced by Cubism and Futurism, the French painter Fernand Léger developed a unique style of Cubism using cylindrical and other geometric forms with mechanically smooth edges. Often colorful and punctuated by patterns, his paintings range from still lifes and figures to abstract compositions.
TheArtStory - Modern Art GuideModern Art Information Fernard Léger
Paul Eluard
Paul Eluard
Paul Eluard was a French poet, and one of the original participants in the French Surrealism movement, forming strong ties with the likes of Breton, Aragon and Ernst. Eluard was also active in the French Resistance during World War II, but later in life joined the Communist Party, became a Stalin sympathizer and renounced the Surrealism movement.

Modern Art Information Paul Eluard
Joseph Kosuth
Joseph Kosuth
Joseph Kosuth is an American conceptual artist, philosopher and essayist. His most celebrated work is One and Three Chairs (1965), which doubles as a piece of commentary on Plato's Theory of Forms. He is likewise well-known for his 1969 essay "Art after Philosophy," considered a key text of postmodern art writing.

Modern Art Information Joseph Kosuth
The Enigma of Isidore Ducasse
The Enigma of Isidore Ducasse

Title: The Enigma of Isidore Ducasse (1920)

Artwork Description & Analysis: This early, assisted readymade (a found object slightly altered) was created a year before Man Ray left for France. Marcel Duchamp's influence and assistance are evident in this Dada object, in which a sewing machine is wrapped in an army blanket, and tied with a string. The title comes from French poet Isidore Ducasse (1846-70) and the imagery comes from a quote in his book Les Chants de Maldoror (1869): 'Beautiful as the chance meeting, on a dissecting table, of a sewing machine and an umbrella'. Chance effects were important to the Dada artists, and the piece is very much in that spirit, but it also prefigures the Surrealists' interest in revealing the creative power of the unconscious. The original object was created and then dismantled after the photograph was taken. Ray did not reveal the 'enigma' under the felt and intended the photograph as a riddle for the viewers to solve with the title providing a hint.


Object wrapped in felt and string - National Gallery of Australia, Parkes (reconstructed in 1971)

Le Cadeau (The Gift)
Le Cadeau (The Gift)

Title: Le Cadeau (The Gift) (1921)

Artwork Description & Analysis: This piece was made in the afternoon on the opening day of Man Ray's first solo show in Paris. It was intended as a gift to the gallery owner, the poet Philippe Soupault, and Ray added it to the show at the last minute. But the object received much attention and disappeared at the end of the opening.
Another assisted readymade, Ray took a simple utilitarian object, an iron, and made it evoke different qualities by attaching the tacks. Hence the tacks, which cling and hold, contrast with the iron, which is meant to smoothly glide, and both are rendered useless.


Iron and tacks - The Museum of Modern Art, New York (replica of the lost original)

Rayography (The Kiss)
Rayography (The Kiss)

Title: Rayography (The Kiss) (1922)

Artwork Description & Analysis: This is one of Man Ray's earliest Rayograms, a process by which objects are laid directly on to a photo-sensitive paper then exposed to light. To create this particular picture, he transferred the silhouette of a pair of hands to the photographic paper then repeated the procedure with a pair of heads (his and his then lover's, Kiki de Montparnasse).

Rayograms gave Man Ray an opportunity to be in direct contact with his work and react to his creations immediately by adding one layer upon the next layer. He used inanimate objects as well as his own body to create his earlier pictures, and the pictures sometimes have an autobiographical quality, with many of his photographs portraying his lovers.


Gelatin silver print (photogram) - The Museum of Modern Art, New York

Indestructible Object (or Object to Be Destroyed)
Indestructible Object (or Object to Be Destroyed)

Title: Indestructible Object (or Object to Be Destroyed) (1923)

Artwork Description & Analysis: Man Ray re-created this work multiple times after making the original. The piece was first intended as a silent witness in Ray's studio - watching him paint. In the second version, which was published in the avant-garde journal This Quarter, in 1932, Ray substituted the eye of Lee Miller, his former lover, after she left him and married a successful Egyptian businessman. He wanted to attack Miller by "breaking her up" in his works that feature her, and thus this second version, called Object of Destruction, was accompanied by the following instructions: "Cut out the eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow." At an exhibition in 1957, a group of students followed the instructions and destroyed the object. It was later reconstructed and made into multiples using the money Man Ray received from the insurance. He renamed the work Indestructible Object.


Metronome with cutout photograph of eye on pendulum - The Museum of Modern Art, New York

Le Violon d'Ingres (The Violin of Ingres)
Le Violon d'Ingres (The Violin of Ingres)

Title: Le Violon d'Ingres (The Violin of Ingres) (1924)

Artwork Description & Analysis: Inspired by Jean-Auguste-Dominique Ingres's La Grande Baigneuse, Ray used Kiki de Montparnasse wearing a turban as a model for this piece. He transformed the female body into a musical instrument by painting sound-holes on her back, playing with the idea of objectification of an animate body. Throughout his career Man Ray was fascinated with juxtaposing an object with a female body.
Ingres's works were admired by many surrealist artists, including Ray, for his representation of distorted female figures. Ingres's well-known passion for the violin created the colloquialism in French, 'violon d'Ingres', meaning a hobby. Many describe Le Violon d'Ingres as a visual pun, depicting his muse, Kiki, as Ray's 'violon d'Ingres.'
This image is one of many of Man Ray's photographs that have gone on to have a rich afterlife in popular culture. F-holes have become a popular tattoo design amongst musicians, and fashion designers like Viktor and Rolf referenced the image to create their spring 2008 collection.


Gelatin silver print - J. Paul Getty Museum, Los Angeles

Noire et Blanche (Black and White)
Noire et Blanche (Black and White)

Title: Noire et Blanche (Black and White) (1926)

Artwork Description & Analysis: This photograph of Kiki de Montparnasse's head next to an African ceremonial mask bears a title that references both the black and white process of photography as well as skin color. It was created at a time when African art and culture was much in vogue. The oval faces of the two almost look identical in their serene expressions, but he contrasts her soft pale face with the shiny black mask. He simplifies the conflict of society into a problem of lighting and imagery in aesthetics - one oval next to another oval; one laying on its side contrasted with another that is erect; one lit from above and the other from the side.


Gelatin silver print - J. Paul Getty Museum, Los Angeles

Les Larmes (Glass tears)
Les Larmes (Glass tears)

Title: Les Larmes (Glass tears) (1932)

Artwork Description & Analysis: Looking almost like a film still, this cropped photograph demonstrates Man Ray's interest in cinematic narrative. The model's eyes and mascara-coated lashes are looking upward, invoking the viewers to wonder where she's looking and what is the source of her distress. The piece was created soon after the artist's break-up with his assistant and lover, Lee Miller. Ray created multiple works in an attempt to "break her up" as a revenge on a lover who left him (similar to Indestructible Object).
The model is in fact not a real woman but a fashion mannequin with glass bead tears on the cheeks. Here, again, Man Ray is exploring his interest in the real and unreal by challenging the meaning of still-life photography.


Gelatin silver print - J. Paul Getty Museum, Los Angeles

l'Heure de l'Observatoire: les Amoureux (Observatory Time: The Lovers)
<i>l'Heure de l'Observatoire: les Amoureux</i> (Observatory Time: The Lovers)

Title: l'Heure de l'Observatoire: les Amoureux (Observatory Time: The Lovers) (1936)

Artwork Description & Analysis: One of Man Ray's most memorable paintings, Observatory Time, is featured in this black-and-white photograph, along with a nude. It includes a depiction of the lips of his departed lover, Lee Miller, floating in the sky above the Paris Observatory. In the photograph, the nude is lying on her side on a sofa underneath the painting, with a chessboard at her feet. Observatory Time hints at what the woman might be dreaming: a nightmare or an erotic fantasy. The lips in the picture were an inspiration for the logo of The Rocky Horror Picture Show, and many other pop culture iconic images. The chessboard appears in many of the artist's works - Duchamp, Picabia and Man Ray all loved playing chess. And Man Ray considered a grid of squares, "the basis for all art... it helps you to understand the structure, to master a sense of order." He also made chess set designs and photographs of chessboards, pieces and players.


- Private Collection

Bibliography
The books and articles below constitute a bibliography of the sources used in the writing this page. These also suggests some accessible resources for further research, especially ones that can be found and purchased via the internet.