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\nImage by pedrosimoes7<\/a><\/i>
\nBelem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal<\/p>\n
Components : Oil on wood<\/p>\n
BIOGRAPHY<\/p>\n
Man Ray (born Emmanuel Radnitzky, August 27, 1890 \u2013 November 18, 1976) was an American visual artist who spent most of his career in France. He was a important contributor to the Dada and Surrealist movements, although his ties to each and every have been informal. He developed major performs in a assortment of media but considered himself a painter above all. He was very best identified for his photography, and he was a renowned fashion and portrait photographer. Man Ray is also noted for his perform with photograms, which he known as "rayographs" in reference to himself.<\/p>\n
During his profession as an artist, Man Ray allowed couple of particulars of his early life or loved ones background to be identified to the public. He even refused to acknowledge that he ever had a name other than Man Ray.<\/p>\n
Man Ray was born as Emmanuel Radnitzky in South Philadelphia, Pennsylvania, U.S. in 1890. He was the eldest kid of Russian Jewish immigrants. He had a brother and two sisters, the youngest born in 1897 shortly right after they settled in the Williamsburg neighborhood of Brooklyn, New York. In early 1912, the Radnitzky loved ones changed their surname to Ray. Man Ray’s brother chose the surname in reaction to the ethnic discrimination and anti-Semitism prevalent at the time. Emmanuel, who was known as "Manny" as a nickname, changed his 1st name to Man and progressively began to use Man Ray as his combined single name.<\/p>\n
Man Ray’s father worked in a garment factory and ran a modest tailoring enterprise out of the family members residence. He enlisted his children to assist him from an early age. Man Ray’s mother enjoyed designing the family’s clothes and inventing patchwork things from scraps of fabric. Man Ray wished to disassociate himself from his family members background, but their tailoring left an enduring mark on his art. Mannequins, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other products associated to tailoring appear in practically each medium of his operate. Art historians have noted similarities in between Ray’s collage and painting strategies and designs used for tailoring.<\/p>\n
Mason Klein, curator of a Man Ray exhibition at the Jewish Museum entitled Alias Man Ray: The Art of Reinvention, suggests that the artist could have been "the 1st Jewish avant-garde artist."<\/p>\n
First ARTISTIC ENDEAVOURS <\/p>\n
Man Ray displayed artistic and mechanical abilities throughout childhood. His education at Brooklyn’s Boys’ High School from 1904 to 1909 supplied him with strong grounding in drafting and other basic art methods. Whilst he attended school, he educated himself with frequent visits to the local art museums, exactly where he studied the functions of the Old Masters. Following his graduation, Ray was provided a scholarship to study architecture but chose to pursue a career as an artist. <\/p>\n
Man Ray’s parents have been disappointed by their son’s decision to pursue art, but they agreed to rearrange the family’s modest living quarters so that Ray’s space could be his studio. The artist remained in the family residence over the next 4 years. During this time, he worked steadily towards becoming a skilled painter. Man Ray earned funds as a commercial artist and was a technical illustrator at numerous Manhattan companies.<\/p>\n
The surviving examples of his operate from this period indicate that he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of contemporary avant-garde art, such as the European modernists he saw at Alfred Stieglitz’s "291" gallery and functions by the Ashcan School. Nevertheless, with a few exceptions, he was not yet capable to integrate these trends into his own perform. The art classes he sporadically attended\u2014including stints at the National Academy of Design and the Art Students League\u2014were of little apparent advantage to him. When he enrolled in the Ferrer School in the autumn of 1912, he started a period of intense and rapid artistic development.<\/p>\n
NEW YORK<\/p>\n
While living in New York City, Man Ray was visually influenced by the 1913 Armory Show and galleries of European modern performs. His early paintings display facets of cubism. Soon after befriending Marcel Duchamp, who was interested in showing movement in static paintings, his works began to depict movement of the figures. An example is the repetitive positions of the dancer’s skirts in The Rope Dancer Accompanies Herself with Her Shadows (1916).<\/p>\n
In 1915, Man Ray had his very first solo show of paintings and drawings soon after he had taken up residence at an art colony in Grantwood, New Jersey, across the Hudson River from New York City.<\/p>\n
His first proto-Dada object, an assemblage titled Self-Portrait, was exhibited the following year. He created his first substantial photographs in 1918.<\/p>\n
Man Ray abandoned standard painting to involve himself with Dada, a radical anti-art movement. He started making objects and created distinctive mechanical and photographic strategies of creating photos. For the 1918 version of Rope Dancer, he combined a spray-gun strategy with a pen drawing. Like Duchamp, he did readymades\u2014ordinary objects that are chosen and modified. His Present readymade (1921) is a flatiron with metal tacks attached to the bottom, and Enigma of Isidore Ducasse[9] is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Aerograph (1919), an additional operate from this period, was done with airbrush on glass.<\/p>\n
In 1920, Man Ray helped Duchamp make the Rotary Glass Plates, a single of the earliest examples of kinetic art. It was composed of glass plates turned by a motor. That identical year, Man Ray, Katherine Dreier, and Duchamp founded the Soci\u00e9t\u00e9 Anonyme, an itinerant collection that was the first museum of modern art in the U.S.<\/p>\n
Man Ray teamed up with Duchamp to publish 1 problem of New York Dada in 1920. For Man Ray, Dada’s experimentation was no match for the wild and chaotic streets of New York.[11] He wrote that "Dada can not live in New York. All New York is dada, and will not tolerate a rival."<\/p>\n
In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887-1975), in New York. They married in 1914, separated in 1919, and formally divorced in 1937.<\/p>\n
PARIS<\/p>\n
In July 1921, Man Ray went to reside and function in Paris, France. He quickly settled in the Montparnasse quarter favored by a lot of artists. Shortly following arriving in Paris, he met and fell in really like with Kiki de Montparnasse (Alice Prin), an artists’ model and celebrated character in Paris bohemian circles. Kiki was Man Ray’s companion for most of the 1920s. She became the topic of some of his most renowned photographic images and starred in his experimental films, Le Retour \u00e0 la Raison and L’\u00c9toile de mer. In 1929, he began a really like affair with the Surrealist photographer Lee Miller.<\/p>\n
For the next 20 years in Montparnasse, Man Ray was a distinguished photographer. Significant members of the art globe, such as James Joyce, Gertrude Stein, Jean Cocteau, Bridget Bate Tichenor, and Antonin Artaud, posed for his camera.<\/p>\n
The Misunderstood (1938), collection of the Man Ray Estate
\nMan Ray was represented in the first Surrealist exhibition with Jean Arp, Max Ernst, Andr\u00e9 Masson, Joan Mir\u00f3, and Pablo Picasso at the Galerie Pierre in Paris in 1925. Essential works from this time have been a metronome with an eye, originally titled Object to Be Destroyed, and the Violon d’Ingres, a beautiful photograph of Kiki de Montparnasse, styled soon after the painter\/musician Ingres. Violon d’Ingres is a well-known example of how Man Ray could juxtapose disparate elements in his photography to create meaning.<\/p>\n
In 1934, surrealist artist M\u00e9ret Oppenheim, identified for her fur-covered teacup, posed nude for Man Ray in a properly-identified series of photographs depicting her standing next to a printing press.<\/p>\n
With Lee Miller, his photography assistant and lover, Man Ray reinvented the photographic approach of solarization. He also produced a variety of photogram he named "rayographs", which he described as "pure dadaism".<\/p>\n
Man Ray directed a quantity of influential avant-garde quick films, recognized as Cin\u00e9ma Pur. He directed Le Retour \u00e0 la Raison (2 mins, 1923) Emak-Bakia (16 mins, 1926) L’\u00c9toile de Mer (15 mins, 1928) and Les Myst\u00e8res du Ch\u00e2teau de D\u00e9 (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film Anemic Cinema (1926), and Ray personally manned the camera on Fernand L\u00e9ger’s Ballet M\u00e9canique (1924). In Ren\u00e9 Clair’s film Entr’acte (1924), Man Ray appeared in a short scene playing chess with Duchamp.<\/p>\n
Duchamp, Man Ray, and Francis Picabia were pals and collaborators. The three had been connected by their experimental, entertaining, and innovative art.[17][18]<\/p>\n
HOLLYWOOD<\/p>\n
Man Ray was forced to return from Paris to the United States due to the Second Globe War. He lived in Los Angeles, California from 1940 to 1951 where he focused his creative energy on painting. A handful of days soon after arriving in Los Angeles, Man Ray met Juliet Browner, a 1st-generation American of Romanian-Jewish lineage. She was a trained dancer, who studied dance with Martha Graham, and an knowledgeable artists’ model. The two married in 1946 in a double wedding with their close friends Max Ernst and Dorothea Tanning. In 1948 Man Ray had a solo exhibition at the Copley Galleries in Beverley Hills, which brought collectively a wide array of work and featured his newly painted canvases of the Shakespearean Equations series.<\/p>\n
LATER LIFE<\/p>\n
He died in Paris on November 18, 1976 from a lung infection. He was interred in the Cimeti\u00e8re du Montparnasse in Paris. Ray’s epitaph reads "unconcerned, but not indifferent". When Juliet Browner died in 1991, she was interred in the identical tomb. Her epitaph reads "together once again". Juliet organized a trust for his operate and donated significantly of his operate to museums. Her plans to restore the studio as a public museum proved as well expensive, such was the structure’s disrepair. Most of the contents have been stored at the Pompidou Center.<\/p>\n
ACCOLADES<\/p>\n
In 1999, ARTnews magazine named Man Ray 1 of the 25 most influential artists of the 20th century. The publication cited his groundbreaking photography, "his explorations of film, painting, sculpture, collage, assemblage and prototypes of what would eventually be referred to as efficiency art and conceptual art." <\/p>\n
ARTnews additional stated that "Man Ray supplied artists in all media an example of a creative intelligence that, in its ‘pursuit of pleasure and liberty’, unlocked every door it came to and walked freely where it would." In search of pleasure and liberty was 1 of Ray’s guiding principles, along with others such as carrying out factors that are socially prohibited.<\/p>\n
In March 2013, Man Ray’s photograph Noire et Blanche (1926) was featured in the U.S. Postal Service’s Modern Art in America series of stamps.<\/p>\n
QUOTATIONS<\/p>\n
BY MAN RAY<\/p>\n
"It has in no way been my object to record my dreams, just the determination to recognize them." \u2014 Julien Levy exhibition catalog, April 1945.<\/p>\n
"There is no progress in art, any a lot more than there is progress in producing enjoy. There are simply distinct methods of carrying out it." \u2014 1948 essay, "To Be Continued, Unnoticed".<\/p>\n
"To create is divine, to reproduce is human." \u2014 "Originals Graphic Multiples", circa 1968 published in Objets de Mon Affection, 1983.<\/p>\n
"I paint what can’t be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the items that I do not want to paint, the things which already have an existence." \u2014 Undated interview, circa 1970s published in Man Ray: Photographer, 1981.<\/p>\n
"I have been accused of being a joker. But the most profitable art to me entails humor." \u2014 Undated interview, circa 1970s published in Man Ray: Photographer, 1981.<\/p>\n
"An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. It is marvelous that we are the only species that creates gratuitous types. To create is divine, to reproduce is human."<\/p>\n
"Of course, there will often be these who appear only at strategy, who ask ‘how’, whilst other folks of a much more curious nature will ask ‘why’. Personally, I have constantly preferred inspiration to details."<\/p>\n
"I do not photograph nature. I photograph my visions."<\/p>\n
ABOUT MAN RAY<\/p>\n
"Man Ray, n.m. synon. de Joie jouer jouir." (Translation: "Man Ray, masculine noun, synonymous with joy, to play, to get pleasure from.") \u2014 MARCEL DUCHAMP, as the opening epigram for Man Ray’s memoir Self-Portrait, 1963.<\/p>\n
"With him you could try anything\u2014there was nothing you were told not to do, except spill the chemical compounds. With Man Ray, you were cost-free to do what your imagination conjured, and that sort of encouragement was fantastic." \u2014 Artist and photographer, NAOMI SAVAGE, Man Ray’s niece and prot\u00e9g\u00e9e, in a 2000 newspaper interview.<\/p>\n
"Man Ray is a youthful alchemist forever in quest of the painter’s philosopher’s stone. May he never find it, as that would bring an finish to his experimentations which are the really situation of living art expression." \u2014 ADOLF WOLFF, "Art Notes", International 8, no. 1 (January 1914), p. 21.<\/p>\n
"[Man Ray was] a type of brief man who looked a small like Mr. Peepers, spoke slowly with a slight Brooklynese accent, and talked so you could never inform when he was kidding." \u2014 Brother-in-law JOSEPH BROWNER on his initial impression of the artist quoted in the Fresno Bee, August 26, 1990.<\/p>\n
Shipyard workers at a cold frame bending machine<\/strong> This set celebrates the achievements of the renowned Sunderland shipbuilding firm Joseph L. Thompson & Sons. The company\u2019s origins date back to 1846 when the firm was recognized as Robert Thompson & Sons. Robert Thompson senior died in 1860, leaving his second son Joseph Lowes Thompson in manage. In 1870 the shipyard completed its final wooden vessel and was then adapted for iron shipbuilding.<\/p>\n By 1880 the firm had expanded its operations more than a lot of North Sands and in 1884 completed the construction of Manor Quay, which served as fitting out and repair facilities. For several years in the late nineteenth century the yard was the most productive in Sunderland and in 1894 had the fourth biggest output of any shipyard in the planet.<\/p>\n The Depression affected the firm severely in the early 1930s and no vessels have been launched from 1931 to 1934. However, in the course of these years the business developed a hull design and style providing higher efficiency and economy in service. During the Second Planet War the prototype developed by Joseph L. Thompson & Sons proved so well-known that it was used by the US Government as the basis of over two,700 Liberty ships constructed at American shipyards amongst 1942 and 1945.<\/p>\n Following the War the North Sands shipyard went on to develop numerous fine cargo ships, oil tankers and bulk carriers. Sadly the shipyard closed in 1979, even though it briefly reopened in 1986 to construct the crane barge ITM Challenger.<\/p>\n (Copyright) We’re satisfied for you to share these digital images within the spirit of The Commons. Please cite ‘Tyne & Put on Archives & Museums’ when reusing. Specific restrictions on high top quality reproductions and commercial use of the original physical version apply though if you’re unsure please email archives@twmuseums.org.uk<\/p>\n
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\nImage by Tyne & Put on Archives & Museums<\/a><\/i>
\nCold frame bending machine in operation at the North Sands shipyard of J.L. Thompson & Sons, Sunderland, February 1962 (TWAM ref. DS.JLT\/5\/4\/4\/2).<\/p>\n
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