DOCSLIB.ORG

Et Les Surréalistes Collection Lucien & Edmonde Treillard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Et Les Surréalistes Collection Lucien & Edmonde Treillard MAN RAY ET LES SURRÉALISTES COLLECTION LUCIEN & EDMONDE TREILLARD Paris, 2 mars 2021 MAN RAY ET LES SURRÉALISTES, COLLECTION LUCIEN ET EDMONDE TREILLARD VENTE Mardi 2 mars 2021 - 14h 9, avenue Matignon 75008 Paris EXPOSITION PUBLIQUE Jeudi 25 février 10h-18h Vendredi 26 février 10h-18h Samedi 27 février 10h-18h Lundi 1er mars 10h-18h Mardi 2 mars 10h-14h COMMISSAIRE-PRISEUR Camille de Foresta CODE ET NUMÉRO DE VENTE Pour tous renseignements ou ordres d’achats, veuillez rappeler la référence 19833 – MAN RAY deuxième de couverture lot 91 troisième de couverture lot 74 CONDITIONS OF SALE quatrième de couverture lot 162 La vente est soumise aux conditions générales imprimées en fin de catalogue. Il est vivement conseillé aux acquéreurs potentiels de prendre connaissance des informations importantes, avis et lexique figurant également en fin de catalogue. The sale is subject to the Conditions of Sale printed at the end of the catalogue. Prospective buyers are kindly advised to read as well the important information, notices and explanation of cataloguing practice also printed at the end of the catalogue. Certains lots ne sont pas vendus encadrés, merci de consulter le rapport de condition. Unless otherwise stated in the condition report, all works are sold unframed. AVERTISSEMENT Ce catalogue contient des Les départements remercient pour leurs aides précieuses : Léa Adolfo, Yuna Cabon, Camila Escobar images susceptibles de heurter la sensibilité des mineurs. WARNING This catalog contains images that are potentially harmfull to minors. Participez à cette vente avec Enregistrez-vous sur www.christies.com jusqu’au 2 mars à 8h30 CHRISTIE’S FRANCE SNC Agrément no. 2001/003 Consultez le catalogue et les résultats CONSEIL DE GÉRANCE de cette vente en temps réel sur votre Cécile Verdier, Gérant iPhone, iPod Touch ou iPad Julien Pradels, Gérant François Curiel, Gérant 1 CHRISTIE’S FRANCE INFORMATIONS POUR LA VENTE Élodie Morel-Bazin Fannie Bourgeois Antoine Lebouteiller Adrien Legendre Frédérique Darricarrère Delmas Directrice département, Spécialiste département Directeur département, Directeur département, Directrice département, Estampes Photographies, Europe Photographies Art Impressionniste et Livres et manuscrits Tel: +33 (0)1 40 76 85 71 Tel: +33 (0)1 40 76 84 16 Tel: +33 (0)1 40 76 84 41 moderne Tel: +33 (0)1 40 76 83 74 [email protected] [email protected] [email protected] Tel: +33 (0)1 40 76 85 83 [email protected] [email protected] CÉCILE VERDIER JULIEN PRADELS Présidente Directeur Général [email protected] [email protected] Tél: +33 (0)1 40 76 85 59 Tél: +33 (0)1 40 76 85 64 Léa Bloch Vincent Belloy Alice Chevrier Nathalie Hammerschmidt Spécialiste associée, Art Spécialiste associé, Spécialiste Junior, Coordinatrice de la vente impressionniste et moderne Livres et manuscrits Livres et manuscrits Tel: +33 (0)1 40 76 83 61 Tel: +33 (0)1 40 76 83 99 Tel: +33 (0)1 40 76 84 39 Tel: 33 (0)1 40 76 72 24 [email protected] [email protected] [email protected] [email protected] ANIKA GUNTRUM PIERRE MARTIN-VIVIER SIMON DE MONICAULT DEPARTEMENT INTERNATIONAL PHOTOGRAPHIES Vice Présidente, Directrice Internationale, Vice Président, Directeur International, Vice Président, Directeur International, NEW YORK LONDRES Art Impressionniste et Moderne Arts du XXe siècle Arts décoratifs [email protected] [email protected] [email protected] Tél: +33 (0)1 40 76 83 89 Tél: +33 (0)1 40 76 86 27 Tél: +33 (0)1 40 76 84 24 SERVICES POUR CETTE VENTE, PARIS Darius Himes Jude Hull Philippe Garner Matthieu Humery Directeur International Spécialiste Consultant Consultant ORDRES D’ACHAT RELATIONS CLIENTS ABONNEMENT du département Tel: +44 (0) 20 7389 2315 Tel: +1 212 636 2324 [email protected] ET ENCHÈRES CLIENT ADVISORY AUX CATALOGUES [email protected] TÉLÉPHONIQUES Fleur de Nicolay CATALOGUE SUBSCRIPTION ABSENTEE AND [email protected] Tél: +33 (0)1 40 76 85 85 TELEPHONE BIDS Tél: +33 (0)1 40 76 85 52 Fax: +33 (0)1 40 76 85 86 Catalogue Photo Credits : christies.com Juan Cruz Ibañez, Nina Slavcheva Tél: +33 (0)1 40 76 84 13 CONSULTANTE RÉSULTATS DES VENTES Marina Gadonneix, Anna Buklovska Fax: +33 (0)1 40 76 85 51 Guillaume Onimus, Jean-Philippe Humbert SALES RESULTS SERVICES APRÈS-VENTE Emmanuelle de l’Ecotais Justin Meekel, Emilie Lebeuf christies.com Paris : +33 (0)1 40 76 84 13 POST-SALE SERVICES Expert en photographie, membre du Syndicat Français Maquette : Aurélie Ebert Londres : +44 (0)20 7627 2707 Marta Ciaraglia des Experts Professionnels @ Christie, Manson & Woods Ltd. (2021) SERVICES À LA CLIENTÈLE New York : +1 212 452 4100 Coordinatrice d’après-vente CLIENTS SERVICES christies.com Paiement, Transport et Retrait des lots [email protected] Payment, shipping and collections Tél: +33 (0)1 40 76 85 85 Tél: +33 (0)1 40 76 85 79 Fax: +33 (0)1 40 76 85 86 REGIONAL MANAGING BUSINESS MANAGER EMAIL Fax: +33 (0)1 40 76 84 47 DIRECTOR Virginie Dulucq Pour toute demande concernant [email protected] Zoe Ainscough +44 (0) 20 7389 2853 cette vente, vous pouvez contacter +44 (0)20 7389 2958 [email protected] la coordinatrice de la vente. [email protected] 2 3 Lucien Treillard & Man Ray Edmonde Treillard ( à gauche) et Juliet (à droite) dans l’appartement. Man Ray et Lucien Treillard. Photo recadrée par Man Ray Photo recadrée par Man Ray Juliet et Man Ray dans l’appartement de M. et Mme Treillard Lucien Treillard photographié par Man Ray dans l’appartement Lucien Treillard est né à Brive (Corrèze) le 7 décembre 1936. Depuis le décès de son époux en 2004, Madame Edmonde Treillard Lucien Treillard was born in Brive (Corrèze) on December 7th, 1936. his death, Lucien remained the undisputed expert of Man Ray’s work. Professeur de lettres dans un collège à Sartrouville, il se marie a poursuivi le travail de son mari en s’occupant des expositions des Professor of literature in a Sartrouville high school, in 1959 he Since the death of her spouse in 2004, Madame Edmonde Treillard en 1959 avec Edmonde, étudiante en dentisterie. Tous deux oeuvres de la collection jusqu’à nos jours avec en 2020 l’exposition married Edmonde, a student in dentistry. At the time, both already has pursued the work of her husband through exhibitions presenting collectionnent déjà et Lucien travaille chez Georges Visat, graveur Man Ray et la mode du musée Cantini à Marseille et au musée collected engravings and Lucien worked for Georges Visat, an numerous pieces from the collection. In 2020, she participated in et éditeur d’art installé rue Bourbon-le-Château dans le 6e. Man du Luxembourg à Paris, ou la grande rétrospective organisée au engraver and art publisher based on rue Bourbon-le-Château in the the organization of the Man Ray et la mode exhibition at the Musée Ray avait donné à réaliser à Georges Visat deux lithographies (Le Brésil et dans laquelle figuraient certains des tirages mis en vente 6th arrondissement. Man Ray had asked Georges Visat to produce Cantini in Marseille and the Musée du Luxembourg in Paris, as well Pont Neuf et Rue Férou), mais il n’était pas satisfait du bleu que lui aujourd’hui. two lithographs (Le Pont Neuf and Rue Férou), but he was not as the important retrospective in Brazil, where several prints for sale proposait le graveur. Fatigué des discussions sans fin avec l’artiste, satisfied with the blue overtones chosen by the engraver. Tired of at auction today were featured. Georges Visat envoie Lucien au 6bis rue Férou lui montrer une endless discussions with the artist, Georges Visat sent Lucien to nouvelle proposition. On est en 1960. Le rendez-vous se passe à 6bis rue Férou to show him a new proposition. The date was 1960. “Though Man Ray was in every respect a hands-on artist, he merveille, et peu de temps après, Man Ray téléphone à Visat pour The encounter was very successful, and soon thereafter, Man Ray did not, of course, actually carry out the execution of editions phoned Visat to tell him that from now on, he only wanted to talk lui dire qu’il ne veut échanger qu’avec Lucien. Ce dernier, qui n’a himself. For the last fifteen years of his working life he had the pas l’habitude de se lier rapidement avec les gens, rentre pourtant to Lucien. The latter, who was not used to bonding quickly with assistance of a dedicated friend and colleague, a young teacher chez lui enthousiasmé par sa rencontre. A partir de cette date, il people, nevertheless returned home enthusiastic about his meeting. names Lucien Treillard. […] ira tous les jours travailler avec Man Ray, partageant son temps From then on, he worked with Man Ray every day, dividing his time On August 27, 1976, Man Ray celebrated his eighty-sixth entre ses cours de lettres et le studio de l’artiste, devenant ainsi between his literature classes and the artist’s studio, thus becoming birthday, a double commemoration, for he had received the Oder son assistant. his assistant. of Artistic Merit from the French government that week. Quand le 1er janvier 1970, Edmonde s’installe comme dentiste rue When Edmonde opened her dentistry practice on the rue de Rome, Even as he grew weaker with each passing day, every movement de Rome, Lucien est toujours professeur de lettres et l’assistant January 1st, 1970, Lucien was still a professor of literature and Man cause for pain, Man Ray requested that Lucien Treillard continue to come to the studio for their afternoon work sessions. These de Man Ray. Ensemble, ils réaliseront toutes les éditions des Ray’s assistant. Together, they produced all the editions of the had of late become little more than discussion about plans objets originaux disparus, et s’appliqueront à valoriser l’œuvre original missing objects, and endeavoured to enhance the work of for projects to be initiated and books to be written.
Load more

Recommended publications
  • The Authenticity of Ambiguity: Dada and Existentialism
    THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study.
    [Show full text]
  • La Representación De La Visión En El Cine De Los Surrealistas
    Máster en Estudios Comparados de Literatura, Arte y Pensamiento Iniciación a la investigación La representación de la visión en el cine de los surrealistas Ainamar Clariana Rodagut Directora de la investigación: Dra. Victoria Cirlot Curso 2011-2012 3 de septiembre de 2012 1 ÍNDICE Introducción...................................................................................................................................3 1. El cine de los surrealistas................................................................................................11 1. 1 Contexto.....................................................................................................................11 1.2 La experiencia de los surrealistas: el cine como sueño........................................13 1.3 El cine surrealista como transgresión....................................................................17 1.4 La imposibilidad de un cine surrealista..................................................................17 1.5 Diversas formas de tratar la relación entre surrealismo y cine..........................18 1.6 La obra de cada autor y los elementos surrealistas..............................................25 1.7 El sueño surrealista: liberar al espectador a través del cine................................26 1.8 La práctica subversiva y el discurso narrativo.......................................................28 1.9 Conclusión.................................................................................................................29 2. Emak Bakia........................................................................................................................31
    [Show full text]
  • The Creative Restlessness of Lee Miller's
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 14 | 2017 Early American Surrealisms, 1920-1940 / Parable Art Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period Peter Schulman Electronic version URL: http://journals.openedition.org/miranda/9855 DOI: 10.4000/miranda.9855 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Peter Schulman, “Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period”, Miranda [Online], 14 | 2017, Online since 03 April 2017, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/9855 ; DOI: https://doi.org/10.4000/miranda.9855 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period 1 Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period Peter Schulman 1 “As a spectator, I wanted to explore photography not as a question (a theme) but as a wound,” Roland Barthes writes in Camera Lucida (Barthes 17). Similarly, in the famous first lines of his surrealist book Nadja, André Breton concluded that the question he should ask himself should be “not who I am, but whom I haunt” (Breton 7). Could either of these quotes apply to Lee Miller’s aesthetic as well ? While her photographs during her period of soi-disant “apprenticeship” 1 with Man Ray focused on the female body, and the ones in her studio in New York on elegant portraiture, it is during her period in Egypt when she was married to the wealthy, older Egyptian businessman Aziz Eloui Bey that her photography truly blossomed into her own aesthetic which “married” the humor and the ludic notions of space found in certain Magritte paintings with the curious gaze of the ‘other’ that she would develop as a photo-journalist during the war.
    [Show full text]
  • Man Ray Im Urteil Der Zeitgenössischen Kunstliteratur
    Man Ray im Urteil der zeitgenössischen Kunstliteratur unter besonderer Berücksichtigung des multimedialen Angebots Diplomarbeit im Fach Kunstwissenschaft und Kunstinformationswesen Studiengang Wissenschaftliche Bibliotheken der Fachhochschule Stuttgart – Hochschule der Medien Corinna Herrmann Erstprüferin: Prof. Dr. Gudrun Calov Zweitprüfer: Prof. Dr. Gerhard Kuhlemann Bearbeitungszeitraum: 15. Juli 2002 bis 15. Oktober 2002 Stuttgart, Oktober 2002 Kurzfassung 2 Kurzfassung Die vorliegende Diplomarbeit behandelt das Werk Man Rays und die Auswirkungen seiner Arbeiten auf die heutige Zeit. Die einführende Kurzbiografie liefert einen Überblick über sein Leben. Es folgt die Darstellung seines Lebenswerks mit den Auswirkungen auf die moderne Kunst, insbesondere die Fotografie. Anschließend wird das Ausstellungswesen zu Man Ray untersucht. Die folgende Betrachtung der zeitgenössischen Kunstliteratur geht im besonderen auf das multimediale Angebot zu Man Ray ein. Den Abschluss bildet die Darstellung von Man Ray in der Öffentlichkeit anhand des Kunstmarkts und anhand seiner Werke in Museen und Artotheken. Schlagwörter: Man Ray, Fotografie, Kunstliteratur, Kunstmarkt, Neue Medien, Diplomarbeit Abstract This diploma thesis presents the work of Man Ray and discusses its influence on the world of art today. First, an overview of his life is given, followed by a description of his works and the effects on modern art and in particular on photography. Next, Man Ray’s exhibition will be examined. Some of the contemporary art literature is presented,
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. However, the thesis incorporates, to the extent indicated below, material already submitted as part of required coursework and/ or for the degree of: Masters in English Literary Studies, which was awarded by Durham University. Sign ature: Incorporated material: Some elements of chapter three, in particular relating to the discussion of teeth and dentistry, formed part of an essay submitted for my MA at Durham CniYersiry. This material has, however, been significantly reworked and re,,ised srnce then. Dismantling the face in Thomas Pynchon’s Fiction Zachary James Rowlinson Submitted for the award of Doctor of Philosophy University of Sussex November 2015 i Summary Thomas Pynchon has often been hailed, by those at wont to make such statements, as the most significant American author of the past half-century.
    [Show full text]
  • The Occultation of Surrealism: a Study of the Relationship Between Bretonian Surrealism and Western Esotericism
    UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Primary sources Surrealism Aragon , Louis. ‘A Wave of Dreams’. De Muth, Susan (trans.). Papers of Surrealism 1 (2010). http://www.surrealismcentre. ac.uk/papersofsurrealism/ journal1/acrobat_files/deMuth. pdf (accessed November 19, 2010). ––––––. Oeuvres poétiques complètes. Barbarant, Olivier (ed.). Vol I. Paris: Gallimard, 2007. ––––––. Treatise on Style. Waters, Alyson (trans.).
    [Show full text]
  • Ontdek Fotograaf, Schilder, Cineast Man
    65785 Man Ray man / Amerikaans fotograaf, schilder, cineast, assemblagekunstenaar, beeldhouwer Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Man Ray Radensky, Emmanuel Radnitzky, Emmanuel Rudnitsky, Emmanuel Radnitsky, Emmanuel Kwalificaties fotograaf, schilder, cineast, assemblagekunstenaar, beeldhouwer Nationaliteit/school Amerikaans eldest son of Russian-Jewish immigrants Geboren Philadelphia (Pennsylvania) 1890-08-27 Overleden Parijs 1976-11-18 Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Miller, Lee Storm, Stephan Moffat, Curtis Société Anonyme Deze persoon/entiteit in andere databases 43 treffers in RKDlibrary als onderwerp 5 treffers in RKDlibrary als auteur Verder zoeken in RKDartists& Geboren 1890-08-27 Sterfplaats Parijs Kwalificaties fotograaf Kwalificaties schilder Kwalificaties cineast Kwalificaties assemblagekunstenaar Kwalificaties beeldhouwer Onderwerpen modefotografie Stroming Dada Stroming surrealisme Auteur Ray, Man Biografische gegevens Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'.
    [Show full text]
  • Una Iconografía Del Ojo En Emak Bakia
    AISTHESIS Nº 52 (2012): 51-68 • ISSN 0568- 3939 © Instituto de Estética - Pontificia Universidad Católica de Chile Una iconografía del ojo en Emak Bakia Iconography of the eye in Emak Bakia Ainamar Clariana Rodagut Universidad Pompeu Fabra, España [email protected] Resumen · este artículo es un análisis de la obra cinematográfica Emak Bakia cen- trado en el motivo del ojo. Su hipótesis es que en esta obra la alusión al ojo hace referencia al concepto de visión. Con la finalidad de validar la hipótesis se utiliza el método hermenéutico. Por esta razón, se realiza una iconografía del ojo que se extiende a parte de la obra fotográfica de Man Ray, para finalizar en la obra elegida. Palabras clave: ojo, visión, vanguardia, imaginación, espontaneidad. Abstract · The following paper is an analysis of the film Emak Bakia. It focuses on the motif of the eye. The hypothesis maintains that the eye in Emak Bakia refers to the concept of vision. In order to prove this hypothesis, the article will use hermeneutics. For this reason, we will explore an iconography of the eye that develops from the photographic work of Man Ray to the work previously mentioned. Keywords: Eye, Vision, Avant-garde, Imagination, Spontaneity. 51 AISTHESIS Nº 52 (2012): 51-68 52 El motivo visual del ojo aparece en muchas obras realizadas por artistas que se incluyen dentro de la corriente estética del surrealismo. Este motivo adquiere especial relevancia en la obra de Max Ernst. Su ojo atravesado por un hilo, por- tada del poemario de Paul Eluard Repetitions, ha sido descrito por Werner Spies como un manifiesto visual del surrealismo.
    [Show full text]
  • The Indestructible Lee Miller
    The Indestructible Lee Miller October 4, 2015 – February 14, 2016 This exhibition explores the remarkable art and life of Lee Miller (1907-1977; American) from various perspectives: as the assistant, collaborator and muse of Surrealist artist Man Ray (1890-1976; American) in the early 1930s; and then as a pioneering fine art, fashion, and war photographer and correspondent. It features more than 90 works dating from 1929-1959, as well as a replica of Man Ray’s sculpture of a metronome, Indestructible Object, 1923, which he transformed in the 1930s after his romance with Miller ended. Before moving to Paris to learn photography from Man Ray in 1929, Miller worked as a fashion model for Vogue Magazine. In Paris, she came into contact with other Surrealist artists and writers and adopted their iconography and strategies in her subsequent work. These include altering pictorial motifs by using narrow image frames and applying techniques that included deforming and fragmenting the human body, focusing on details, tilting perspectives, and experimenting with methods, such as solarization, which achieves a reversal of black and white values through overexposure. In 1934, Miller moved to Egypt and photographed its desert and architectural structures, transforming them into ambiguous shapes and forms. London became her home in 1938 and her 1940 fashion photographs for British Vogue, staged amidst the damages of the London Blitz, led to Vogue hiring her as a war photographer and correspondent in 1942. Her subsequent photographs of war-torn Europe, which illustrated her Vogue articles, included among others, images of the liberation of Dachau and Buchenwald concentration camps.
    [Show full text]
  • A Reexamination of the Problematics of Women and Surrealism
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 The Phallic Woman: A Reexamination of the Problematics of Women and Surrealism Adrienne Anne Chau Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Feminist Philosophy Commons, French and Francophone Literature Commons, Modern Art and Architecture Commons, Museum Studies Commons, Photography Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Chau, Adrienne Anne, "The Phallic Woman: A Reexamination of the Problematics of Women and Surrealism" (2017). Senior Projects Spring 2017. 228. https://digitalcommons.bard.edu/senproj_s2017/228 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. The Phallic Woman: A Reexamination of the Problematics of Women and Surrealism Senior Project submitted to The Division of Arts of Bard College by Adrienne Chau Annandale-on-Hudson, New York 2017 Acknowledgements Special thanks to Laurie Dahlberg, for never losing faith and confidence in me the past four years, especially these past few months.
    [Show full text]
  • Henri Cartier-Bresson Commercial Success
    Henri Cartier-Bresson Commercial Success Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France. A pioneer in photojournalism, Carti- Cartier-Bresson’s rise as a photographer proved rapid. By the mid 1930s he’d shown his work in major exhibits in er-Bresson wandered around the world with his camera, becoming totally immersed in his current environment. Mexico, New York, and Madrid. His images revealed the early raw possibilities of street photography and photo- Considered one of the major artists of the 20th century, he covered many of the world biggest events from the journalism in general. During an exhibit of his prints in New York in 1935 Cartier-Bresson befriended another pho- Spanish Civil War to the French uprisings in 1968. tographer, Paul Strand, who’d begun to experiment with film. Inspired by what he saw, Cartier-Bresson abandoned photography and returned to France where he took work as an assistant with French filmmaker Jean Renoir. Over Biography of his early years the next three years, Cartier-Bresson worked on a handful of Renoir films, including his most critically acclaimed, La Règle Du Jeu (1939). Widely considered one of the leading artistic forces of the 20th century, Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France. The oldest of five children, his family was wealthy—his father made a fortune as But the documentarian in Cartier-Bresson had no use or particular talent for directing feature films. Instead, he was a textile manufacturer—but Cartier-Bresson later joked that due to his parents’ frugal ways, it often seemed as drawn to showing real stories about real life.
    [Show full text]
  • Dada, Surrealism, and Early Sound Cinema 2017
    Marvellous Noise and Modest Recording Instruments: Dada, Surrealism, and Early Sound Cinema A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2017 Suzanne Mangion School of Arts, Languages and Cultures Contents Abstract p. 3 Declaration p. 4 Copyright Statement p. 5 Acknowledgements p. 6 Introduction p. 8 1. Concepts and Contexts of Dada/Surrealism-related Audio-Visuality p. 23 2. Readymade Soundtracks p. 65 3. Cut and Paste Cinema p. 110 4. Spoken Words, Silent Mouths p. 156 Concluding Notes and Future Directions p. 193 Bibliography p. 199 Filmography p. 226 word count 74, 991 2 Abstract This thesis assesses the ways in which films related to Dada and Surrealism used sound techniques during the 1920s and 1930s. It argues that their audio-visual approaches were distinctive, and related to important concepts and strategies within the movements such as collage, juxtaposition, and the Surrealist ‘marvellous.’ Historical research is combined with close analysis and theoretical interpretation to examine the early sound film context in detail, while also bringing a new aural perspective to Dada and Surrealist cinema studies. The project addresses an important, yet neglected, part of film sound history, while also pushing art historical interpretation of these works beyond a long-held visual bias. Dada and Surrealist cinema's heyday coincided with the period of transition from silent to sound film, and several filmmakers associated with these movements, including Luis Buñuel and Salvador Dalí, Jean Cocteau, and Hans Richter, were at the forefront of this change, producing some of the earliest sound films in their countries of work.
    [Show full text]