fashion photographer INTRODUCTORY TEXT theatre art and the pictorial avant- garde. Composition, re-cropping, 01 the interplay of light and shadow, solarisation and colourisation Man Ray, fashion photographer are some of the innovations that Following the advice of Marcel contributed to the creation of images Duchamp, Man Ray left New York from photographic developments in July 1921 and moved to Paris. in the media during the 1930s. As a photographer, he played an The exhibition highlights the way Man active part in the Dadaist movement. Ray’s commercial work and artistic The fashion designer, Paul Poiret, projects continuously and mutually encouraged him to become a fashion enriched one another. The fashion photographer for magazines (Vogue, magazines, which lie at the root of the Femina, Vanity Fair) and illustrated creation of these images, engaged magazines (VU). He would go on with the photographs and in so doing to collaborate regularly with the their role in the popularisation of a American magazine, Harper’s Bazaar. new aesthetic was emphasised. Although his fashion photography At the Musée des Arts Décoratifs, was the result of intense hard work de la Faïence et de la Mode – and formed a large part of his career, Château Borély, the exhibition it is still relatively unknown today. continues with La Mode au Man Ray gave fashion photography a temps de Man Ray (Fashion in new lease of life through his technical the time of Man Ray), allowing inventiveness and an unprecedented us to place these photographs freedom with tone, derived from within their historical context. 02 The Coat-stand 04 Obstruction 1920/1995 1920/1964 gelatin silver print, reproduction Thirty-two coat hangers from the negative made from wood and iron

Paris, Centre Pompidou, Musée National Edition 10, Galleria Schwarz, Milan d’Art Moderne/Centre de Création Milan, private collection, Industrielle acquired by request Marconi Foundation

A woman is standing naked behind This object was created in 1947 a coat-stand that replaces her and is ‘made up of 63 coat hangers arms, hides her face and covers attached to one another in a her shoulders. The image of the mathematical way, using equations. puppet-body is emphasised by the They are attached in this way to form metal stand that ruthlessly splits her an arithmetic progression; first one, body in half. A mannequin versus then another at each end, making a living body, a dumbstruck doll two; on these two, two more, making versus an emancipated being. The four; then eight; then thirty-two. At title removes any doubt: here, the this point the gallery is completely object prevails. Reproduced in the filled and you can no longer see the magazine, New York , Marcel artworks that are on display. This is Duchamp and Man Ray, April 1921 why it is called Obstruction’ (Beverly Inv. TEX 1995-281 (1447) Hills Man Ray Exhibition, 1948)

03 Le Baiser (The Kiss) 05 Collection d’hiver around 1932 (Winter collection) gelatin silver print 1936 Paris, private collection gelatin silver print Paris, private collection The folds that can be seen on the photograph demonstrate a re- This work published in La cropping method often used by Man photographie n’est pas l’art, Ray. Re-cropping through folding shows, through a close-up and places all the focus on the kiss. The low-angled shot, a tree whose folding, to instruct the printer, aims fruit is covered by paper bags. Its to reinforce the intensity of this kiss. humorous title (Winter Collection) underlines the suggestive character of the photograph and appears to be a nod by Man Ray to his work in fashion photography. 06 Man Ray’s Mannequin 07 Cadeau (Gift) for the Exposition 1921/2003 Internationale du gelatin silver print, reproduction from the glass plate Surréalisme 1938 Paris, Centre Pompidou, Musée National d’Art Moderne/Centre de création gelatin silver contact print industrielle acquired by request Marseille, Musée Cantini Acquired In December 1921, Man Ray held an in 2019 in memory of Mr Jean-François Sarnoul exhibition entitled ‘Exposition dada Man Ray’ with the help of Philippe The Exposition Internationale du Soupault at the bookshop, Six, in Surréalisme was held at the Galerie Paris. On his way there, he passed des Beaux-Arts in Paris in winter the window of a hardware store and 1938. The corridor had been took the opportunity to buy an iron. transformed into a ‘surrealist street’, He attached a row of small nails on with sixteen mannequins dressed by to the front of the iron and put it in the artists installed against the wall. a box. He wrote the title ‘Cadeau’ These mannequins, objects halfway (‘gift’) on it as he intended to give it between the animate and inanimate, to Philippe Soupault. The association were first and foremost surrealist, of the iron, nails and the title is despite originating from the world of an integral part of the subversive fashion. Man Ray placed lightbulbs and poetic practice which was so in the hair of his mannequin, leaving important to the Dadaist spirit. the body unclothed apart from a Man Ray tells how this object, which ribbon, which had the inscription had become an object of art,would ‘adieu foulard’, tied around the hips. be reused during a rehearsal for The glass beads placed in the corner a film: to help a dancer who had of the eyes and by the armpits are ripped her dress, he offered to reminiscent of Glass Tears, taken for iron it for her, creating a tattered a mascara advertisement in 1932. dress, perfect for showcasing the dancer’s movements. From the middle of the 1920s, Inv. TEX 1995-281 (187) the artist created a photography campaign intended for magazines for the models at the company, Siegel. In 1966 he released a limited edition publication of the Résurrection des Mannequins which included photos taken during the 1938 Exposition Internationale du Surréalisme. Inv. 2019.4.17 08 THE 1920S, FROM ↘ This was a procedure that HIGH-SOCIETY Man Ray often used to soften the models’ features. PORTRAITS TO FASHION Inv. AM 1994-353 PHOTOGRAPHY

In 1922 Man Ray was introduced 10 Vogue France to Paul Pioret. The meeting was far 1st May 1925 from a success. The fashion designer was happy to make his facilities Countess Étienne de Beaumont Centre de documentation and models available to this newly- de la Mode, Marseille arrived young American, but refused to pay him to use the photographs. At the invitation of Lucien Vogel, But Man Ray needed to make a who was editor of Jardin des Modes living, so he concentrated on taking and the Gazette du Bon Ton and portraits of notable figures in Parisian who would also go on to launch the circles, which included Americans French edition of Vogue, under the and representatives of high society auspices of Condé Nast, Steichen and all those - including artists and attracted attention with a series writers - who were drawn to Paris. of photographs of ball gowns that Man Ray, captivated by this free and had been designed by the fashion creative environment, did not give designer, Paul Poiret. In 1923, up and hoped to be able to quickly the publishing group Condé Nast find success in fashion photography. named him director of photography for its magazines in New York, including Vogue and Vanity Fair. He delicately balanced art and text 09 Kiki de Montparnasse when designing the publication. 1924 gelatin silver print 11 Untitled Paris, Centre Pompidou, Musée National d’Art Moderne/Centre around 1925 de Création Industrielle gelatin silver print donated in 1994 Paris, private collection Kiki de Montparnasse was an artists’muse and model in A Jeanne Lanvin dress embroidered Montparnasse from 1917. She met with beaded medallions for the Man Ray in 1921, becoming his muse straps and a long chiffon scarf. In and his lover. In 1922 they moved the background, on a miniature into the studio on Rue Campagne- mannequin, is a reproduction Première in Paris. Whilst the contact of the ‘Columbine’ dress, made sheets from the same photo shoot of ivory taffeta with large black revealed cropping at mid-body, this velvet dots, beads, metallic image, concentrated around the bust, thread and a red velvet bow. indicates cropping after the shoot. ↗

12 Peggy Guggenheim 13 La Marquise Casati dans une robe de Poiret (The Marchioness Casati) (Peggy Guggenheim 1935 in a Poiret dress) Gelatin silver print 1924 Marseille, Musée Cantini gelatin silver print cropped acquired in 2019 in memory with black ink of Mr. Jean-François Sarnoul

Paris, Centre Pompidou, Musée Luisa Casati was an extravagant National d’Art Moderne/Centre personality and a major figure in de Création Industrielle donated in 1994 European society from the start of the 20th century. As a friend of the Peggy Guggenheim in an ‘oriental’ Italian poet, Gabriele d’Annunzio, Paul Poiret dress in 1923. The tunic she influenced the artistic and was made from brocade satin with high-society life of 1920s Europe, Persian patterns and embroidered organising huge and luxurious with multicoloured beads and a gold masked balls. She was a patron of lamé skirt. Vera Stravinski’s Turban major fashion designers like Fortuny Peggy Guggenheim, a wealthy and Paul Poiret and became a American heiress, arrived in Paris legend amongst her contemporaries. in 1921. After her marriage to the Man Ray created a portrait of the French poet and artist, Laurence Vail, Marchioness in 1922 that became the following year, she frequented the well-known for splitting her gaze Parisian artistic avant-garde circles in two. He photographed her again and befriended Marcel Duchamp. at the Bal des Tableaux célèbres, She would go on to become one which was organised by the Count of the biggest gallery owners and of Beaumont in July 1935. In front sponsors of modern art in the 1930s. of a monumental wall hanging Here she was photographed by inspired by a 19th century canvas, Man Ray for an article dedicated she personifies an Austrian Empress to influential foreign personalities training her horses, Flick and Flock. living in Paris commissioned by the Inv. 2019.4.21 Swedish weekly magazine, Bonniers Veckotidning. Peggy Guggenheim poses on a chequered floor, used as a means of highlighting the contrasting lighting of the figure as well as an illustration of the intrusion of gambling and chance into the image. She ended her days in Venice where her collection can still be seen in the Palais Vernier dei Lepni. Inv. AM 1994-394/4071 14 Nancy Cunard et Tristan 15 Marie-Laure de Noailles Tzara au bal costumé des costumée en « robe Beaumont (Nancy Cunard poisson » pour le bal and Tristan Tzara at Les le Fond de la mer Beaumont costumed ball) (Marie-Laure de Noailles 1924 wearing the’Fish dress’ gelatin silver print for the ‘Sea Ball’) Marseille, Musée Cantini 1928 acquired in memory of gelatin silver print Mr. Jean-François Sarnoul In June 1924, Man Ray was invited Marseille, Musée Cantini acquired in memory of by Count Étienne de Beaumont to Mr. Jean-François Sarnoul photograph the guests at one of his famous costumed balls. He was a Marie-Laure de Noailles was collector and patron, and regularly photographed at the futuristic ball organised great masked balls in thrown by the Viscount de Noailles his mansion on Rue Masseran, with to celebrate the new décor in his the ‘Games Ball’ (1921), ‘Sea Ball’, residence designed by Jean-Michel ‘Colonial Ball’ and ‘Heritage Ball’ Frank. She is standing in front of (1939). The last was held in 1949. a wall covered by pale parchment, For Cocteau, this couple ‘found dressed as a squid. Her evening their calling in frivolity’. These balls dress and matching hat were brought together both Parisian created using superimposed layers high society and members of the of mottled shagreen. Shagreen artistic and literary world. Amongst (from a species of stingray) is a them was Nancy Cunard, militant cartilaginous fish leather that has politician and English poet, who long been used in woodworking and is here wearing a brocade suit scabbard-making and more recently and top hat, her face hidden by a in leatherwork. The photograph was th domino mask. Tristan Tzara, a writer published in Variétés on 15 July himself and a founding member of 1928 in one of the first editions the Dadaist movement, wrote to of this ‘illustrated magazine with her some months before the play, a contemporary spirit’ which put Le mouchoir de nuages, with the photography at the forefront. support of the Count of Beaumont. Inv. 2019.4.14 Inv. 2019.4.18 16 Bal au château des 18 Jean-Charles Worth Noailles (Ball at the Nu (Jean-Charles Château des Noailles) Worth Naked) around 1929 around 1925 gelatin silver print two gelatin silver prints

Paris, Centre Pompidou, Musée Paris, Centre Pompidou, Musée National d’Art Moderne/Centre National d’Art Moderne/Centre de Création Industrielle de Création Industrielle donated in 1994 donated in 1994

Marie-Laure de Noailles is dressed Jean-Charles Worth was a fashion for the ball thrown during the designer and the grandson of shooting of Man Ray’s film, Charles Frédéric Worth (1825- Les Mystères du Château du Dé. 1895), who founded the famous It was filmed on the Noailles’ Paris fashion house, Worth & property in Hyères, which became Bobergh. Their reputation attracted a villa symbolic of the work of the prestigious clients like Princess architect, Mallet-Stevens. Today, Pauline de Metternich, wife of the Villa Noailles is open to the public. Austrian ambassador, and Empress Inv. AM 1994-394/2904 Eugénie. For three generations his descendants would carry on his work, with Gaston and Jean-Philippe, followed by Jean- 17 Vogue France 1st August 1930 Charles and Jacques and finally Le Bal blanc (The White Ball) Roger and Maurice Worth, until the fashion house was bought Centre de Documentation de back by Paquin in 1954. la Mode in Marseille and the Collection Julien Baulu in Paris. Inv. AM 1994-394/2816 and 2840

Left-hand page: The Viscountess de Noailles (on the pedestal), Boris Kochno (in the background) and Jean-Michel Frank (on the step), with Mrs. Jacques Bousquet and Christian Bérard on either side, all dressed up as ancient marble statues. Right-hand page: Baron Albert de Goldschmidt Rothschild (on the left), dressed as a court lady, and Mrs John Munroe (on the right) dressed as Empress Eugénie. 19 Barbette 20 NOIRE ET BLANCHE 1926/1970 (BLACK AND WHITE) Gelatin silver print, reproduction Kiki poses with a Baule mask that Collection Fonds régional d’Art contemporain Occitanie, Montpellier belonged to the American glass sculptor, Georges Sakier. This Barbette Vander Clyde, or simply photograph was published in the Barbette, was a famous American May 1926 edition of Vogue under trapeze artist who performed in the title Visage de nacre et masque drag and was well-known in the d’ébène (Mother-of-Pearl Face and 1920s and 1930s. After a few Ebony Mask) and also in the 15th years of working in a double act, July 1928 edition of Variétés. It was he started to call himself Barbette part of a series that required many and gave solo performances, first steps to end up with a result that was in England and then in France. His as close as possible to the desired act was considered to be one of the image. Man Ray started by creating most beautiful in the music-halls. a frame including Kiki’s body, but Barbette would move towards the in the end he decided to focus on middle of the dance floor and, with her face. He wanted it to become a theatrical gesture, take off his wig, a mask, just like the African mask revealing to a stunned audience that she is holding. The simplified that he was in fact a man in drag. forms of the mask are there to Cocteau expressed his appreciation mirror Kiki’s distinctive features: her for Barbette’s act and ‘his closed eyes, the delicate stroke of extraordinary lesson in the art makeup emphasising the contours of theatre’ in an article that he of her eyes, her fine eyelashes and dedicated to him for La Revue closed lips. This immediate similarity Française on 1st July 1926. In this affirms the equality of the two article he also mentions the stages of cultures in a type of ‘strange poetry’ metamorphosis that his act required according to Pierre Migennes (Art et and which Man Ray captured for him. Décoration, November 1928). Man After a fall in 1947, he retrained Ray had already published a work as an artistic director, working for with the same title in 1924 - Black many circuses and music halls. and White, on the cover of Picabia’s He also worked as a consultant 391 magazine. He juxtaposed an on several films including Billy African and an antique statue. Wilder’s Some Like It Hot, in which he helped Jack Lemmon and Tony Curtis with their drag scenes. Inv. 82PH0249 21 THE PAVILLON DE 22 FASHION AND L’ ÉLÉGANCE ADVERTISING IN LIGHT OF The International Exhibition of Modern Decorative and Industrial It did not take long for Man Ray to Arts was held in Paris in 1925 receive commissions in advertising and was made up of five main and fashion. He symbolised the sectors; Architecture, Furniture, easily identifiable artistic style of the Jewellery, Theatre, Street and Surrealist group, who made excellent Garden Arts and Education. use of scandal and provocation. This event put fashion at the forefront This perfectly mastered style, (presided over by Jeanne Lanvin), held in check by some fashionable with the Grand Palais displaying classicism and spiced up with over 300 models, department slick eroticism, generated images stores in the pavilions and shops fully assimilable by their sponsors, on the Pont Alexandre III, while the which would later stand alone from prestigious Pavillon de l’Elégance, their commercial function and bankrolled by four great fashion become icons in their own right. houses and a jeweller’s (Callot, Jenny, Lanvin, Worth and Cartier), designed by Robert Fournez and managed by Armand-Albert Rateau, 23 Les Larmes (Glass Tears) was dedicated to absolute luxury. 1932 The mannequins, thought up by gelatin silver print, reproduction André Vigneau for Siégel, were Paris, private collection different colours and had stylised faces but realistic poses. Man Ray, This iconic photograph was originally amongst several other photographers taken for a ‘Cosmécil’ mascara who used them as models, would go advertisement, accompanied by the on to photograph them in the Pavillon slogan ‘cry at the cinema/cry at the de l’Elégance and the Grand Palais. theatre/cry tears of laughter, without worrying about your mascara’.

24 L’oeil (Eye) 1932 gelatin silver print, reproduction from the negative

Paris, private collection

The photograph, ‘L’œil’, was published in Photographs by Man Ray, 1920-1934 and is a brilliant example of changes that Man Ray could create thanks to ↗ ↘ cropping, allowing him to go 26 Photographie de mode ‘from the general to the particular’. (Fashion photography) Successive cropping created a 1936 strange transformation: the face gelatin silver print was narrowed down to an isolated gaze, and then to a single eye. The Marseille, Musée Cantini ‘tentacle-like’ eyelashes covered acquired in memory of Mr. Jean-François Sarnoul in black seem to catch these false glass tears that refuse to fall. In Published in the November 1936 Self-Portrait, he explains that edition of Harper’s Bazaar the face disappears out of the This living model is treated like an range of the image, leaving only inanimate mannequin. Man Ray what is essential in the frame, isolated his model with a white because poets saw that ‘a woman’s cover that cuts her off at the top gender is reflected in her eye’. of the hips, as if she were an object that could be placed on a table. The artificial character of the 25 Lydia (Glass Tears) layout is further accentuated by the 1932 stereotypical position of the hands, gelatin silver print frozen in a particularly unnatural position that is reminiscent of the Marseille, Musée Cantini hands of waxworks. Man Ray had acquired in memory of Mr. Jean-François Sarnoul already used this affected position when he photographed Marcel The model here is the French cancan Duchamp dressed up as Rrose dancer, Lydia, who has glass tears Sélavy in 1921. He further perfected decorating the contour of her eyes. the illusion by adding the hands This image, which has the widest of Germaine Everling, Picabia’s cropping, is part of a series of five mistress. For the Surrealists, fashion versions that show a progressive models were an inexhaustible exploration of feminine intimacy. It source of inspiration, ‘a symbol was never published as it is. In the capable of stirring up human last version he ended up keeping sensitivity for a time’, as André only the eye of the dancer. “We Breton explained in Le Manifeste du see with the eye - it can shed a tear Surréalisme (Surrealist Manifesto) or we can separate its eyelashes (1924) and Nadja, where he refers with good make-up”, Man Ray. to this ‘adorable illusion (...) with Inv. 2019.4.21 its fixed pose, which is the only statue that I know to have eyes - and provocative eyes at that.. ’ Inv. 2019.4.13 27 Man Ray and Paul Eluard 28 Antoine Les Mains Libres ‘Le Sculpteur de masques’ (Free Hands) 1933 1937 five gelatin silver prints editor’s first edition Paris, Centre Pompidou, Musée National d’Art Moderne/Centre The Centre Pompidou, Musée de Création Industrielle National d’Art Moderne/Centre de donated in 1994 Création Industrielle Bibliothèque Kandinsky, Centre de Documentation et de Recherche of the MNAM He opened his first hair salon in in Paris and the Musée d’Art Paris in 1912. In the 1920s his Moderne, d’Art Contemporain et d’Art Brut in Villeneuve d’Ascq vast empire extended as far as New York, Melbourne and Tokyo. This book is the embodiment He is credited with introducing of the inseparable link between the ‘bobbed’ hairstyle, which was art and poetry. It is much more quickly adopted by ‘flappers’. He than a dialogue between text and died in his native Poland in 1970. illustrations - the text forms the Inv. AM 1994-394/3466- 3470 image and the image forms the text. This is affirmed by Éluard’s inscription on the title page - the 29 La Brouette d’Óscar poet illustrated Man Ray’s drawings. Domínguez The artwork harks back to the series of ‘cut busts’ that were published in (Óscar Domínguez’ the November 1936 issue of Harper’s Wheelbarrow) Bazaar. Two months after Mains around 1930/1978 Libres was published, André Breton gelatin silver print, reproduction and Paul Eluard organised the great Milan, private collection, International Surrealist Exhibition in Marconi Foundation the Galerie des Beaux-Arts in Paris in 1938. Visitors were welcomed with A Madeleine Vionnet autumn 1937 a street lined with mannequins, all lamé evening dress, made in Marcelle created by Surrealist artists including Chaumont’s workshop and worn Yves Tanguy, Man Ray, Marcel by Sonia, the fashion designer’s Duchamp, Joan Miro, André Masson, favourite model. Inspired by Greek Max Ernst and Oscar Dominguez. chitons, the lamé is worked in fine, entirely ribbed pleats that progressively flare into a skirt. Oscar Dominguez transformed the wheelbarrow, bought from an ironmonger’s, by upholstering it in satin in order to display the model, Sonia. In the work, Histoire de la Peinture Surréaliste (History of Surrealist Painting), by Marcel Jean and A. Mazel, the former explains ↗ ↘ that Oscar Dominguez would go ↘ who photographed her here on to create several examples of by overexposing the film to light this wheelbarrow for some ‘amateur’ to obtain a ‘very gentle result on shows. The juxtaposition of this the face’, as the artist explained. object, linked to hard, manual With this portrait of his friend, labour, to the model, wearing Man Ray revealed his ‘poignantly a sophisticated evening dress, accurate sense of the moment combines both the commissioned where the balance between dreams photograph with the freedom of and action shows, just fleetingly, Surrealist imagery and the world in the expression on a face.’, of work with absolute luxury. according to André Breton. Inv. AM 1987-889

31 SOCIALITES, MODELS 33 Elsa Schiaparelli AND MISTRESSES IN (with a wig) THE 1930S around 1934 gelatin silver print

Man Ray’s first models were Marseille, Musée Cantini socialites, such as the rich Egyptian, acquired in 2019, in memory of Mr. Jean-François Sarnoul Nimet Eloui Bey, and the Countess of Beauchamp. But it is the figure Man Ray met Elsa Schiaparelli in of , both his model and New York in the 1920s and she ‘lover-assistant’, who embodied became a major figure in the the move from portraits to fashion artist’s photographic work. Man Ray photography. Her presence marked became a photographer of intimacy the move away from formal forms to and success in equal measures. a spontaneous style, adapting to the Elsa Schiaparelli embodied the evolution of female modelling that link between fashion and art. The technical tricks - like solarisation, New York gallery owner, Julien negative inversion, cutting and Lévy, stated that she ‘was the only overlays - so brilliantly showcased. fashion designer who understood Surrealism’. The theme of hands, a favourite of the Surrealists, can be seen in this photograph. 32 Jacqueline Goddard Breton made them the symbol of 1930 the emergence of surrealism: the gelatin silver print severed hand goes together with Paris, Centre Pompidou, Musée ‘The Antihead’ and ‘the acephalic ’. National d’Art Moderne/Centre Here, the intrusion of a model’s hand de Création Industrielle caressing Elsa’s face gives a certain erotic charge to the photograph. Jacqueline Goddard arrived in the Inv. 2019.4.9 Montparnasse quarter in 1929. She was the daughter of a sculptor, and soon became a model for many artists, including Man Ray, ↗ 34 Elsa Schiaparelli 35 Elsa Schiaparelli around 1931 around 1931 gelatin silver print gelatin silver print

Marseille, Musée Cantini Paris, private collection Obtained in 2019 in memory of Mr. Jean-François Sarnoul In this photograph from the same photo shoot, the dress is combined Elsa Schiaparelli (1890-1973) was with a pheasant-feather collar, which a self-made woman in the fashion also featured in the reproduction world. She met Paul Poiret in Paris published in September 1931 by in 1927. She said, “working with the weekly women’s magazine, artists like Jean Cocteau, Salvador La Femme de France. She wore Dali (...) and photographers like this dress to the opening of the Hoyningen-Huene, Horst, Cécil restaurant, Les Ambassadeurs. Beaton and Man Ray brought you a feeling of utopia. You felt supported and understood, well beyond the 36 Harper’s Bazaar flat and boring reality of simply September 1934 wearing a dress to sell it. Since the ‘Fashion by Radio’ start of her career, Elsa Schiaparelli enjoyed posing with her own Paris, Palais Galliera , Musée de models for fashion photographers. la Mode de la Ville de Paris These portraits allowed her to make This image, the first of Man Ray’s advertisements and illustrate high photographs to be published in society columns in newspapers , was sent with the from then on. Here, the fashion Harper’s Bazaar help of a wirephoto - a device for the designer is wearing an ivory rayon long-distance transmission of still evening dress from her 1931 spring images by radio developed during collection. The dress reveals a fan- the 1920s. It is not insignificant that shaped pleated effect in a trompe- Man Ray created a rayograph for l’œil style, painted by the artist- his first publication in the American decorator, Jean Dunand. Famous magazine. It was a technique for his lacquered furniture, here that he had explored in 1922 and he used the technique of applying very quickly added to Surrealist coloured lacquer with his paintbrush terminology. It involved placing an to the middle of the dress. The object - here an image of a female bands of dark colours suggest folds model - between light-sensitive similar to those of antique drapes. paper and a light source. The Inv. 2019.4.22 rayograph would produce enigmatic, simple, white silhouettes. In this layout by Alexei Brodovitch, the elusive image reveals the curves of the body and the lines of clothing. 37 Harper’s Bazaar ↘ by the artist from the mezzanine of September 1935 his studio. She would go on to take ‘The life we strive for’ part in Man Ray’s La Garoupe film. Inv. AM 1994-394/84 Paris, Julien Baulu collection

Alexey Brodovitch was the artistic director from 1934 to 1958 and never stopped inventing original 39 Lee Miller au chapeau noir combinations ofimages and (Lee Miller in a black hat) typefaces for the American fashion around 1929-1930 magazine, Harper’s Bazaar. In 1934, six gelatin silver prints the new fashion editor of Harper’s Paris, Centre Pompidou, Musée Bazaar, Carmel Snow, asked him National d’Art Moderne/Centre to take on the artistic direction of de Création Industrielle the magazine. He would go on to donated in 1994 give prominence to photography. She was born in the United States Man Ray, Martin Munkacsi, Georges in 1907. From the end of the 1920s, Hoyningen-Huene and Erwin she was sought out as a model Blumenfeld were all amongst the by the most well-known fashion first collaborators. Harper’s Bazaar photographers (e.g. Steichen, Horst was therefore one of the principal P. Horst and Hoiningen Huene) and means of sharing photography started to develop an interest in photography herself. In 1929 she moved to Paris and became Man 38 Emily Davies Ray’s assistant. She returned to New 1930 York in 1932, where she opened a gelatin silver print commercial studio. After marrying Paris, Centre Pompidou, Musée National a rich Egyptian industrialist, she d’Art Moderne/Centre de Création moved to London. She worked as Industrielle - donated in 1994 a war correspondent for Condé- Nast, and then moved to Sussex Although only working occasionally with Sir Roland Penrose. She for Vogue, Man Ray published this died in 1977 and her work as a advertising photograph for the photographer has since been the luxury New York department store, subject of many exhibitions. Bergdorf Goodman, in the American Inv. AM 1994-394/2133, 2142, edition of the magazine on 24th 2147, 2048 , 2155 and 2156 November 1930. Emily Davies was photographed face-on, dressed in a Madeleine Vionnet dress. A second photograph, taken during the same photo shoot, shows the model lying in a sensual pose, looked down on ↗ 40 THE PEAK OF ↘ prestigious films, like the British THE FASHION musical comedy, Head over Heels. PHOTOGRAPHER In 1933, she was featured in an - THE YEARS AT article ranking the best-dressed HARPER’S BAZAAR women in the United States.

The years spent employed by the American magazine, Harper’s Bazaar 42 A Ducharne pink (1934-9) marked the peak of Man satin evening dress, Ray’s style. The photographer’s Elsa Schiaparelli technical and formal freedom, who February 1936 collection, No.88 had fully mastered his medium gelatin silver print of expression, placed him at the same level of graphic creativity as Paris, Palais Galliera, Musée de the magazine’s management team. la Mode de la Ville de Paris Carmel Snow and Alexey Brodovich Photograph published in found in Man Ray a means by which , March 1936 to achieve international dominance. Harper’s Bazaar An Elsa Schiaparelli pink satin dress This would last twenty years, until with pleats, hemmed with tulle frills Man Ray chose to give up fashion for Summer 1936, adapted from a after the war and concentrate costume made by the designer the solely on his painting career. year before for Curtis Bernhardt’s film, ‘The Beloved Vagabond’. Inv. GALK 4371 41 Whitney Bourne 1936 two gelatin silver prints 43 Coco Chanel Paris, private collection A full-length evening gown This photograph appeared in made from black lace and Harper’s Bazaar in September 1936. lined with black silk taffeta The American actress, Whitney 1933 Bourne, wearing a Victor Stiebel evening gown made of black Roman Paris, Patrimoine Chanel crêpe, pleated by hand, decorated with flowers and worn with a large, There is a rounded V-neck on raspberry-coloured chiffon shawl. both the front and back and wide straps edged with two lace frills. Helen Whitney Bourne was born The other side of the neckline is on 6th May 1914 in New York to edged with chiffon, with a beige George Galt Bourne, the son of a overstitch. The top of the dress sewing machine magnate, and his is patterned horizontally in lace first wife, Helen Whitney. She acted and the bottom has a diagonal in many B-movies in the 1930s, with pattern that opens out into frills. occasional appearances in more ↗ Inv. HC. INC. 1933.1 44 La Mode au Congo 46 La Mode au Congo (Fashion in the Congo) (Fashion in the Congo) around 1937/1980 Adelin Fidelin, or Ady gelatin silver print, reproduction around 1937/1980 gelatin silver print, reproduction Milan, private collection, Marconi Foundation Milan, private collection, Marconi Foundation An exhibition of Bushongo and In 1936, Man Ray fell under the Bankutu headdresses in the Galerie spell of Ady, a young Guadeloupian Charles Ratton in Paris would dancer who would go on to be his without doubt go on to have a model. “She swims, laughs and positive influence on fashion. This dances like an angel with brown was fortunate because amongst skin”. This relationship gave Man the objects lightly woven into Ray a sense of optimism and a the web of life, nothing requires zest for life. She would quickly be greater inspiration or greater daring adopted into Surrealist circles. Ady than a woman’s hat. Every head was the first coloured model until should dare to wear a crown! 1974. A photograph was published in the mainstream American press along with the article ‘The 45 La Mode au Congo Bushongo of Africa Send Their (Fashion in the Congo) Hats to Paris’ and text written Consuelo de Saint-Exupéry by Paul Eluard in the September around 1937/1980 1937 edition of Harper’s Bazaar. gelatin silver print, reproduction

Milan, private collection, Marconi Foundation She was the artist and wife of Antoine de Saint-Exupéry and befriended the group of Surrealist painters. At the start of the Second World War, she took shelter in the Villa Air Bel in Marseille. 47 Marjorie Muir Worthington ↘ company in the middle of the Around 1930 19th century. In 1920, she moved gelatin silver print to Paris and created The Hours Press in 1928 to publish young Paris, Centre Pompidou, Musée poets like Samuel Beckett and National d’Art Moderne/Centre de Création Industrielle Ezra Pound. She was driven to donated in 1994 denounce racial segregation after meeting a jazz musician following The American writer, William her relationship with Aragon. She Seabrook, commissioned Man Ray denounced fascism in the 1930s and to design a silver necklace for his announced ‘that the events in Spain wife, Marjorie, that ‘follows the line are the prelude to a new world war’ of her chin, in such a way that she Inv. TEX 1995-281 (80, 81 et 84) has to hold her head high and is unable to turn it’. The accessory, created by a silversmith, was made up of two dull silver plates mounted 49 Catherine Deneuve on hinges and brightened up with 1968 brilliant clasps. He aimed to pander gelatin silver print to the writer’s desires, whilst also Paris, private collection giving, according to Man Ray, a royal air that accentuated the model’s In this photograph from Man Ray’s black hair. She also wore it during last commercial commission, high-society dinners. This object Catherine Deneuve poses in front of became the subject of research the camera surrounded by objects into fine details that stemmed from from the artist’s studio; the screen, the artist’s training in painting. It Les vingts nuits et jours of Juliet also became the catalyst for a new Browner, a game of chess and the psychological depth in portrait art. lampshade, presented to New York Inv. AM 1994-394/3292 by Man Ray in 1920. The actress’ gold-plated earrings take on the form of ‘this object of affection’, Nancy Cunard a moving cardboard spiral and 48 an object both found and made. around 1930/2003 Featuring in several photographs 3 gelatin silver prints, in the 1920s, this lampshade’s reproduction reappearance at the end of the 1960s from the glass plate testified to the artist’s attachment Paris, Centre Pompidou, Musée to it. Its wave-like forms fascinated National d’Art Moderne/Centre Man Ray. The actress was able to de Création Industrielle acquired by request describe the very home-made aspect of the shoot during an interview, Nancy Clare Cunard was born as well as the speed at which the on 10th March 1896. She was the photographer carried out the task. great-granddaughter of Samuel Cunard, who was the founder of the first transatlantic ocean liner ↗ 50 Deux fauteuils 51 Lampshade (Two chairs), 1919/1954 aluminium paint from the drawing by Man Ray for his studio on Rue Paris, Centre Pompidou, Musée National d’Art Moderne/Centre de Création Campagne Première Industrielle - donated in 1994 around 1935 mixture of hardwoods including Man Ray decided to move to 31 Rue stained oak, three drawers Campagne-Première in Paris in July 1922. A year later, the studio became Paris, Centre Pompidou, Musée National a photography studio in order to d’Art Moderne/Centre de Création Industrielle - donated in 1994 hold faster photo shoots. Some objects that went on to become In the 1930s, Man Ray designed and iconic, such as the lampshade that had made some of the furniture in demonstrated the spontaneous the studio that he rented, located in a ingenuity of Man Ray, could be found beautiful building on Rue Campagne there. This paper spiral mounted Première. He would move it in to the on a support and serving as a garage that he found on Rue Férou lampshade is on the border between when he returned to France. The being a manufactured object and premises were uncomfortable, damp a piece of art. Once an object had and cold and he spent all his efforts been found, become a corrected on building a bed in the centre of readymade which was also utilitarian, the room. It was an island of comfort Man Ray would reproduce it after where everything was within arm’s destroying the original. This object reach on articulated shelves. became a favourite and a testimony Inv. AM 1994-309 et 311 to his passion for movement and the wave-like patterns that can be seen on rayographs. Man Ray would create one last, big version in 1954, in white-painted metal, for his Parisian studio on Rue Férou. Inv. AM 1994-300

Man Ray's Photo Album no date, Milan,

private collection, Marconi Foundation reproduced on a digital medium This private album was never put on display during Man Ray’s lifetime. It contains many photographs that are in this exhibition. 52 THE - Rayographs ↘ exposures, a complex TECHNIQUES In 1922, Man Ray image can be created. published his first photograms in Vanity Fair and called - Solarisation them ‘rayographs’. This printing technique This technique of appeared in 1862 and ‘photography without was called the Sabatier a lens’ allowed him effect. It causes a to obtain a print by partial inversion of the simply placing an image by exposing object between light- the negative or the sensitive paper and print to light during a light source. It was development. This the inspiration behind action causes an early photography edging to appear that and was discovered separates the darker by William Henry and lighter areas. Fox-Talbot in 1834. Man Ray, who claims He published it under to have discovered it the name ‘photogenic by accident in 1931, drawing’. The technique deliberately used it to was adopted again produce a silhouette for purely artistic effect which became reasons by the Dadaist, characteristic of his Christian Schad, in 1917 photographic style. and by Laszlo Moholy- Confident that he had Nagy some time later. mastered the technique, The photogram requires he usually carried it neither a camera out directly on the nor a lens and, after negative which allowed having been fixed him to give the printing in place, reveals the work to an assistant. photographic trace of the shape of the object. The areas exposed to - Multiple Exposure light take on darker Multiple exposure colours and the areas involves superimposing that are not exposed two or more elements to the light take on either during the lighter colours. They shooting (successive become grey if the shots on the same objects are transparent plate) or the printing. or translucent. By The print was most moving the light source often created from two or having multiple ↗ or more negatives ↗ ↘ superimposed and ↘ The print therefore ↘ reproductions of sandwiched in the has the same varying quality, often window of the enlarger. dimensions as the from copies of the negative. This type original negatives. of print, popular in Copy: a copy is - Photomontages the 19th century, a duplicate of a First appearing in continued to be photographic image the 19th century, produced throughout obtained by taking the technique of the 20th century, a photograph of it photomontage was particularly for again. A copy of adopted in the 1920s obtaining contact a negative can be and 1930s by the sheets, allowing the obtained by contact. avant-garde artistic photographer to Man Ray often created movements (Dadaism, choose which image copies of his original Surrealism, Futurism, to keep. Man Ray often rayographs in order to Russian Constructivism) marked his desired share and sell them. who turned it into a cropping directly means of expression onto this print. ‘Some of my most in its own right. successful photographs, Photomontage can take Original print: in black and white, particularly diverse an original print is were only enlargements forms: it can be made a print made by the of details on a face or up of photographic author or under their body (...) By giving fragments that have supervision from the these kinds of details been cut-up or stuck, original negative. the texture inherent or sometimes finished Two types can be in photography (...), with additions of paint distinguished - a I went even further or typography and vintage print or a later (...), using a rough can also be created print - depending grain, partial inversion from several negatives on when they were of the negative and combined. In the 1930s, produced. A vintage other technical the press embraced print is an original print variations. ’ Man Ray this new means of made soon after the expression, often for photo shoot, whilst Man Ray’s Photo Album, political reasons. the later print can be no date, Milan, produced many years private collection, after the shoot. Marconi Foundation - The different reproduced on a Reproduction: digital medium types of printing A reproduction is a This private album was print created from never put on display Printing by contact: the original negative during Man Ray’s a contact print is after the death of the lifetime. It contains achieved by placing the photographer. Man many photographs that negative directly on the Ray’s work has been are in this exhibition. photographic paper. ↗ the focus of several ↗ 53 Man Ray's Photo Album no date, Milan

private collection, Marconi Foundation

Reproduced on a digital medium This private album was never put on display during Man Ray’s lifetime. It contains many photographs that are in this exhibition.

54 TIMELINE 1890 ↘ rationalist pedagogy Man Ray was born and the principle of Emmanuel Radnitsky social emancipation. on 20th August in Whilst there, he was Philadelphia. His father influenced by the ran a garment factory ideas of the libertarian whilst his mother made Catalonian teacher, clothes for the family. Francisco Ferrer. The same year, in 1911 France, the fashion designer, Paul Man Ray moved to Poiret, asked the New York and often photographer, Edward frequented the 291 Steichen, who was Gallery, opened by close to Stieglitz, to Alfred Stieglitz, a do a report on his champion of American collections. It was modern art, as well as published in Art et photography, which he Décoration. It was one raised to the rank of of the first fashion art. photography reports. Man Ray studied art at the New York Modern School, founded on ↗ 1913 1916 ↘ Man Ray, was held at Man Ray discovered First photo portraits. Librarie Six. the works of Marcel Duchamp at the 1920 He photographed ‘Armory Show’, or the He founded the Société Rrose Sélavy, a female International Exhibition Anonyme, an artistic character created of Modern Art in New collective that held and played by Marcel York. It was the first of contemporary art Duchamp. its kind to introduce the exhibitions, with Marcel European avant-garde Duchamp and Katherine 1922 to the United States. Dreier. He discovered the ‘rayograph’ procedure, which were Adolf de Meyer became He displayed his work, ‘photographs created the photographer for Lampshade, a hanging by simply placing an the fashion magazine cardboard spiral, cut object between light- Vogue, which had from a lightshade sensitive paper and a previously been reflector, at Société light source. ’. illustrated principally Anonyme’s opening by drawings. He exhibition. His portraits of painters was known for his and writers were pictorial style and an 1921 published in Vanity aesthetic inspired by He sent two Fair from June. His painting that looked photographs to the success as a portrait to transform realistic Salon Dada: exposition photographer allowed photography with internationale de Paris. him to move in to a the help of devices He arrived in Paris real studio at 31 Rue such as blurring and in July, following Campagne-Première. chiaroscuro effects and the advice of Marcel Gabriële Buffet-Picabia, manual interventions on Duchamp, with whom wife of the Dadaist the negative. he stayed. In December, painter , he took a bedroom introduced him to Paul at the Grand Hôtel 1915 Poiret. Man Ray met Marcel des Écoles on Rue Duchamp and Delambre, which was published a booklet fitted out with a small inspired by Dadaism, photography studio. an avant-garde literary and artistic movement He met Kiki de that questioned both Montparnasse, who social and artistic became his companion conventions. and model.

Man Ray created his His first individual first photographic exhibition, entitled reproductions Exposition dada ↗ 1923 ↘ in August’s issue ↘ He took part Bérénice Abbott of French and British in the ‘Film und became his assistant, Vogue and September’s Foto’ exhibition in working for him until edition of American Stuttgart. This was 1926, when she opened Vogue). an event symbolic of her own studio and the Nouvelle Vision, became famous for her Vogue recruited George a photographic photographic portraits. Honyngen-Huene to movement draw figurines. He characterised by Adolf de Meyer left would soon become dynamic cropping, the Condé-Nast one of the most high- and low-angle publications (including significant fashion shots and close-up Vogue and Vanity Fair) photographers. shots playing with for Harper’s Bazaar. angles and diagonals. 1926 1924 He published Noire Lee Miller, who he Violon d’Ingres was et Blanche in French had just met, became published in Littérature. Vogue on 1st May. his assistant and companion until He began to collaborate 1927 1932. Together, they with Vogue (the English, The fashion designer, explored solarisation. French and American Elsa Schiaparelli, This printing device, publications) from July. whose creations were which appeared in the influenced by the 19th century, was used He collaborated contemporary evolution deliberately by Man Ray with the fashion of the fine arts, opened to produce phenomena photographer, George her first fashion of localised inversion Hoyningen-Huene, on boutique in Paris. and silhouettes. the fashion portfolio, The Most Beautiful 1928 1931 Women in Paris. Man Ray collaborated He produced an with the magazine VU, advertising album He took part in La which specialised in for the Compagnie Revue surréaliste, with photography, and from parisienne de the first issue appearing then on only worked for distribution de the same year. Vogue occasionally. l’électricité. He combined the 1925 1929 rayograph and photomontage During the International He filmed the Mystères methods. Exhibition of Modern du château de Dé Decorative and (The Mysteries of the Industrial Arts, he Chateau of Dice) in the photographed the Villa Noailles in Hyères, Pavillon de l’Élégance which he dedicated to for Vogue (published ↗ the countess and owner of the site. ↗ 1932 ↘ He took part in the 1940 Carmel Snow, editor of exhibition, Cubism Man Ray moved to the fashion magazine, and Abstract Art, as Hollywood in California Harper’s Bazaar, chose well as Fantastic Art and met Juliet Browner, Alexey Brodovitch to be Dada Surrealism at the an American dancer its artistic director. Museum of Modern Art and model. They got in New York. married in 1946. 1933 Man Ray collaborated 1937 1944 with Minotaure, the La photographie n’est He was published in Surrealist-inspired pas l’art was published Harper’s Bazaar for the magazine created that with a text by André last time. year by the editors, Breton and twelve of Albert Skira and Man Ray’s photographs. 1951 Tériade. He published An exhibition of African He experimented with ‘L’Age de la lumière’ in hats, organised by Paul colour photography. it. Eluard, was held in the Charles Ratton gallery, 1934 which specialised in 1961 He was hired by ‘primitive’ arts. Man Ray He won the gold medal Harper’s Bazaar. In photographed models for photography at the September, Man wearing these hats for Venice Biennale. Ray’s first Fashions Harper’s Bazaar, with by radio, in which he the title La Mode au 1962 mixed rayographs with Congo. The ‘Man Ray, l’œuvre fashion photography, photographique’ were published in the 1938 exhibition was held magazine. He participated at the Bibliothèque in the Exposition nationale. The art critique, J. internationale du Thrall Soby, published Surréalisme at 1963 the album Man Ray the Beaux-arts His autobiography, Self Photographs 1920- gallery in Paris, and portrait, was published. 1934. photographed all the 1935 mannequins on display. 1976 Man Ray published his Erwin Blumenfeld, Man Ray died in Paris text, ‘On Photography’, the famous fashion on 18th November. in Commercial Art and photographer who, Industry. like Man Ray, knew how to utilise his 1936 ‘futuristic Dadaist’ Man Ray met Adrienne experiments for fashion Fidelin, a Guadeloupean photography, joined the dancer, who became Vogue team and was his companion. ↗ also published in Harper’s Bazaar. 55 Les Mystères du Château du Dé (The Mysteries of the Chateau ‘In a film, I would like to see something that I have never seen of Dice) before and that I do not understand’. 1929 ‘A throw of the dice will never get Before making his first film, Man rid of chance’. This line, said by Ray used his film camera to set his Mallarmé, opens the film. rayographs, photographs taken The cubic shapes of the Villa Noailles without a camera, in motion. He had gave it its formal structure. The already played with fragments of sequence around the swimming pool light on objects. Making the light allowed Man Ray to indulge in his dance fascinated him. In 1923, the favourite game of light reflections, photographer, Tristan Tzara, asked rippling matter and glistening him to make a film for a Dada evening, abstractions. ‘Le Coeur à Barbe’, that had to take place the next day. Lacking financial means, he often Self-Portrait picked the film camera back up at the 1930/36 request of his patrons, the American Man Ray delivered a deeply personal financier, Arthur Weehler, and the film, working in his Parisian studio Viscount of Noailles, who asked around the question of transparency. him to film his new house built by He was the artist at work as well as Mallet-Stevens in Hyères, creating the mischievous man in his everyday ‘Les Mystères du Château du Dé’. life. This is what makes it a self- After a break that lasted a few years, portrait. he went on to make personal films Found in his studio by his wife, in a documentary-style such as ‘La Juliet, after his death, it was never Garoupe’ or ‘Self-Portrait’. shown and it is unclear when it was created.

L’Etoile de Mer La Garoupe 1928 1937 A Surrealist inventory on a poem by A holiday diary filmed with Picasso, Robert Desnos, created according Dora Maar and Eluard, amongst to the saying ‘there is no boundary others. In 1937, Man Ray spent his between being asleep and awake’. holidays at Picasso’s house, ‘La The film is set in this space between, Garoupe’, near Antibes. He took not completely in a dream nor advantage of the trip to try out completely awake. The eruption the new colour films that Kodak of dreamlike nonsense and the had developed some time before. irrational make up the fabric of this He used them in his own way and film. was delighted with the results, mocking the grumbling of the Kodak engineers. MAN RAY, PHOTOGRAPHE DE MODE

coproduction : Musées de Marseille / Réunion des musées nationaux - Grand Palais

avec le soutien exceptionnel du Centre Pompidou, Musée national d’art moderne - Centre de création industrielle

Nous souhaitons remercier les responsables des collections publiques et des institutions privées, des galeries ainsi que les collectionneurs particuliers. Nous tenons à exprimer aussi notre sincère reconnaissance à Madame Lucien Treillard pour son engagement dans ce projet.

Commissariat : Claude Miglietti avec Maud Marron - Wogjewodzki

Commissariat scientifique : Alain Sayag, conservateur honoraire du cabinet de la photographie, Centre Pompidou, MNAM/CCI avec la contribution d’Emmanuelle de l’Ecotais

Signalétique et scénographie : Mothi Limbu - Flirt(studio) avec le service technique des musées

Nous remercions également chaleureusement toutes les équipes qui ont contribué à cette exposition.

Imprimerie municipale de Marseille