Man Ray -Le masque de l’inconnue de la Seine, illustration pour Aurélien de Louis Aragon (Aragon, Aurélien) 1966

Man Ray -Le masque de l’inconnue de la Seine, illustration pour Aurélien de Louis Aragon  (Aragon, Aurélien)  1966

Man Ray -Le masque de l’inconnue de la Seine, illustration pour Aurélien de Louis Aragon (Aragon, Aurélien) 1966

 

 

Comte Etienne de Beaumont , connu pour ses grand bals masqués dans les années 20-25

The Count Etienne de Beaumont, a wealthy descendant of one of the great families of France, was both a ballet set designer, costumes and jewelery, a painter, an accomplished socialite, known for its masked balls and a generous patron, especially for the Ballets Russes of Serge Diaghilev, passionate contemporary arts.

On May 17, 1924, he inaugurated the ‘Soirees de Paris’ Théâtre de la Cigale in Montmartre. They only last a year, combining music hall performances, ballet, poetry and theater, with the participation of artists as diverse as Jean Cocteau, Pablo Picasso, Georges Braque, Erik Satie and Darius Milhaud. With his wife Edith, Étienne de Beaumont Comandita films and avant-garde ballets, and after the war, founded the « Franco-American Association ‘who financed many important exhibitions. Paul Morand, Maurice Sachs, Jean Cocteau, Marc Allégret Bernard Faÿ, Leonide Massine, Lucien Daudet, René Crevel described the extraordinary personality of the Comte de Beaumont; it is also the model of the main character of the second novel by Raymond Radiguet, The Ball of Count Orgel. imec

anomyme, Suit designed by the famous designer Conte Etiene Beaumont, known for its grand masked balls in the years 20-25

Anomyme, Suit designed by the famous designer Comte Etienne de Beaumont, known for its grand masked balls in the years 20-25

anomyme, Costume designed and worn by the famous designer Conte Etiene Beaumont, known for its grand masked balls in the years 20-25

anomyme, Costume designed and worn by the famous designer Conte Etiene Beaumont, known for its grand masked balls in the years 20-25

Etienne de Beaumont and his wife dressed in costumes created by himself (Baroque Dance), 1920s

Etienne de Beaumont and his wife dressed in costumes created by himself (Baroque Dance), 1920s

anomyme, Costume designed and worn by the famous designer Conte Etiene Beaumont, known for its grand masked balls in the years 20-25

anomyme, Costume designed and worn by the famous designer Conte Etiene Beaumont, known for its grand masked balls in the years 20-25

Some example could wear costumes that participants Beaumont balls created by the greatest designers of the time.

Man Ray- Mrs. Errazuriz, Picasso and Olga (his wife) to the ball of Beaumont Count 1924

Man Ray- Mrs. Errazuriz, Picasso and Olga (his wife) to the ball of Beaumont Count 1924

Man Ray- Picasso his wife Olgaet two unidentified persons at a ball of Count Etienne de Beaumont, 1924

Man Ray, Ricardo Viñes, Olga Picasso, Picasso and painter Manolo Ortiz Angeles to a ball of Count Etienne de Beaumont, 1924

Man Ray - Gerald Murphy and his wife, Sara, dressed for a ball of Count Etienne de Beaumont, Montparnasse in 1922

Man Ray – Gerald Murphy and his wife, Sara, dressed for a ball of Count Etienne de Beaumont, Montparnasse in 1924

Man Ray - Gerald Murphy A ball of Count Etienne de Beaumont, Montparnasse in 1922

Man Ray – Gerald Murphy A ball of Count Etienne de Beaumont, Montparnasse in 1924


Man Ray – unidentified person at the ball of Beaumont, 1924

Man Ray unidentified person at the ball of Beaumont, 1924

 Tzara and Man Ray Nancy Cunard at the ball of Beaumont Count 1924

Tzara and Man Ray Nancy Cunard at the ball of Beaumont Count 1924

Man Ray – Unidentified Persons to the ball of Beaumont in 1924

-The Man Ray Viscountess of Noailles the Ball Count E. de Beaumont, 1928

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922

Man Ray – Portrait of the dancer/ choregrapher Bronislava Nijinska, Paris, circa 1922

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray- Portrait of the dancer- choregrapher Bronislava Nijinska , 1922; November 1922 issue; Courtesy Condé Nast Archive

Man Ray – Portrait of the dancer/ choregrapher Bronislava Nijinska, Paris, circa 1922

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Helen Tamiris was a pioneer of American modern dance.

American choreographer, modern dancer, and teacher, one of the first to make use of jazz, African American spirituals, and social-protest themes in her work.

« Helen Tamiris (1903-1966), a founder of modern dance in the 1920s and 1930s, always kept a foot firmly planted in the commercial theater. She was trained in ballet at the Metropolitan Opera and by Michel Fokine, as well as in natural dancing at New York’s Isadora Duncan Studio. Her early career combined a soloist position in the Bracale Opera Company with appearances in nightclub and Broadway revues. Yet her first recital in 1927 demonstrated a personal expression of abstract movement and frank social analysis. A year later she adopted the Negro spiritual as a métier for life as conflict. Politically active, Tamiris helped to lead development of the Dance Repertory Theatre and dance initiatives under the Works Progress Administration Federal Art Project. She founded and chaired the American Dance Association and helped to set up the Federal Dance Project. Following World War II, she turned to Broadway to attract large audiences for a modern dance aesthetic that aspired to shape consciousness of the people. Tamiris choreographed eighteen musicals between 1943-1957, artfully integrating dance into such productions as Up in Central Park, Annie Get Your Gun, and Fanny. She taught movement to dancers and actors and formed the Tamiris-Nagrin Dance Workshop in 1957 with Daniel Nagrin, who was her husband at the time. » Helen Tamiris, an essay by Elizabeth McPherson.

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929

 

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929

Man Ray- Portrait of the Dancer Helen Tamiris, 1925

Man Ray- Portrait of the Dancer Helen Tamiris, 1925-1929

Man Ray – Lee Miller: Les baisers

Man Ray – Lee Miller And Friend,1930 © Man Ray Trust © ADAGP VIA

Man Ray – Lee Miller And Friend,1930  Négatif gélatino-argentique sur support plaque de verre© Man Ray Trust © ADAGP

Man Ray – Lee Miller And Friend ( version II) ,1930 © Man Ray Trust © ADAGP

Man Ray, Le baiser. 1932. © Man Ray Trust © ADAGP

Man Ray- Le baiser. 1930. © Man Ray Trust © ADAGP

Man Ray- Le baiser. 1930. © Man Ray Trust © ADAGP

Voir les autres articles sur Man et Lee Miller Ici

Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris

Ouvrage publié sous le pseudonyme de Didier Desroches, Cet ouvrage, le seul comportant ce pseudonyme de l’auteur utilisé une seule fois par Paul Eluard, fut publié suite au décès de Nusch , illustré de 11 photographies de Nusch par Dora Maar et Man Ray. Dans tous les poèmes du recueil Eluard revient sur les dix-sept années de vie commune qui se sont brusquement interrompues. Notre vie est le poème le plus connu du recueil, celui où la mort de Nush est aussi la sienne. La vie avec Nush ne faisait qu’un avec l’emploi de ce possessif notre. Si le second terme est vie, le mot qui revient comme une obsession dans ce poème est la mort
collection Luc Decaunes, gendre de Paul Eluard.


Notre vie tu l’as faite elle est ensevelie
Aurore d’une ville un beau matin de mai
Sur laquelle la terre a refermé son poing
Aurore en moi dix-sept années toujours plus claires
Et la mort entre en moi comme dans un moulin
Notre vie disais-tu si contente de vivre
Et de donner la vie à ce * que nous aimions
Mais la mort a rompu l’équilibre du temps
La mort qui vient la mort qui va la mort vécue
La mort visible boit et mange à mes dépens
Morte visible Nush invisible et plus dure
Que la soif et la faim à mon corps épuisé
Masque de neige sur la terre et sous la terre »
Sources des larmes dans la nuit masque d’aveugle
Mon passé se dissout je fais place au silence.

Dora Marr – Nush Rluard Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris

Dora Marr- Nush Eluard , Le temps déborde , 1947 par Paul Eluard - Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris

Man Ray– Nush Eluard , Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris

 

Man Ray- Nush Eluard Le temps déborde , 1947 par Paul Eluard - Photographies Dora Maar & Man Ray. Ed° Les Cahiers d’Art, Paris

Man Ray- Nush Eluard Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° Les Cahiers d’Art, Paris

Man Ray- Nush Eluard, Le temps déborde , 1947 par Paul Eluard - Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris

Man Ray- Nush Eluard, Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° Les Cahiers d’Art, Paris

Man Ray- Nush Eluard Le temps déborde , 1947 par Paul Eluard - Photographies Dora Maar & Man Ray. Ed° es Cahiers d’Art, Paris 1

Dora Maar- Nush Eluard Le temps déborde , 1947 par Paul Eluard – Photographies Dora Maar & Man Ray. Ed° Les Cahiers d’Art, Paris

Man Ray, 4 planches pour illustrer l’article « L’âge de la lumière », publié dans la revue « Minotaure », 1933 © Man Ray Trust

Man Ray, 4 planches pour illustrer  l’article « L’âge de la lumière », publié dans  la revue « Minotaure », 1933 © Man Ray Trust