曼·雷(1890-1976)——笔名伊曼纽尔·拉德尼茨基(Emmanuel radnitzky)——在1921年7月抵达巴黎后不久,就开始了一场持续的运动,用一系列肖像作品来记录这座城市的国际先锋,这确立了他作为他那个时代领先摄影师之一的声誉。曼·雷的研究对象包括文化名人,如贝蕾妮丝·阿博特,André布列东,让·科克托,马塞尔·杜尚,欧内斯特·海明威,米里亚姆·霍普金斯,阿尔道斯·赫胥黎,詹姆斯·乔伊斯,李·米勒,Méret奥本海姆,巴勃罗·毕加索,爱丽丝·普林斯(奇基·德·蒙帕纳斯),艾尔莎·夏帕雷利,埃里克·萨蒂和格特鲁德·斯坦因。正如这本插图丰富的出版物所展示的那样,曼·雷的肖像不仅记录了被描绘人物的外表,而且旨在捕捉人物作为创意个体的本质,以及巴黎在两次世界大战之间的集体性质和性格(Les Années folles,疯狂的岁月),当时这座城市作为艺术自由和大胆实验的有力和令人回忆的象征而闻名世界。
A close look at Man Ray’s interwar portraiture, as well as the friendships between the photographer and his subjects: the international avant garde in Paris
Shortly after his arrival in Paris in July 1921, Man Ray (1890–1976)—the pseudonym of Emmanuel Radnitzky—embarked on a sustained campaign to document the city’s international avant-garde in a series of remarkable portraits that established his reputation as one of the leading photographers of his era. Man Ray’s subjects included cultural luminaries such as Berenice Abbott, André Breton, Jean Cocteau, Marcel Duchamp, Ernest Hemingway, Miriam Hopkins, Aldous Huxley, James Joyce, Lee Miller, Méret Oppenheim, Pablo Picasso, Alice Prin (Kiki de Montparnasse), Elsa Schiaparelli, Erik Satie, and Gertrude Stein. As this lavishly illustrated publication demonstrates, Man Ray’s portraits went beyond recording the mere outward appearance of the person depicted and aimed instead to capture the essence of his sitters as creative individuals, as well as the collective nature and character of Les Années folles (the crazy years) of Paris between the two world wars, when the city became famous the world over as a powerful and evocative symbol of artistic freedom and daring experimentation.
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