Conversion to Modernism: The Early Work of Man Ray

Overview

Man Ray (1890-1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work -- significant not only for ...
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2003 Trade paperback New. BRAND NEW. Excellent condition. Never read or opened. No remainder mark. Trade paperback (US). Sewn binding. 261 p. Contains: Illustrations. Audience: ... General/trade. Read more Show Less

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Overview

Man Ray (1890-1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work -- significant not only for comprehending Man Ray's future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of modernism's evolution. Conversion to Modernism highlights Man Ray's production from 1907 to 1917. This book is the first comprehensive, fully illustrated work to examine this artist's seminal years, beginning with his high school years in Brooklyn, his studies at the Art Students League and the National Academy of Design in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center.

From 1913 to 1915, Man Ray lived in a small artists' colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that he began to become the artist we know today. Throughout this period, Man Ray's work developed methodically, in a gradual but certain evolution to abstraction. This progression culminated in 1916 with the publication of a remarkably early and important formalist tract, wherein the flat planar surface is established as a common vehicle of expression for all the arts: music, literature, dance, architecture, sculpture, and painting. The last section of the book includes recently discovered photographs and other works influenced by the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921.

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Product Details

  • ISBN-13: 9780813531489
  • Publisher: Rutgers University Press
  • Publication date: 1/28/2003
  • Pages: 288
  • Product dimensions: 8.40 (w) x 10.90 (h) x 0.80 (d)

Table of Contents

List of Illustrations and Works in the Exhibition
Foreword and Acknowledgments
Lenders to the Exhibition
Preface
1 Youth and First Artistic Impulses (1907-1911) 3
2 The Ferrer Center: Formulating the Aesthetics of Anarchism (1912) 17
3 Stieglitz, Ridgefield, and the Assimilation of a Modernist Aesthetic (1913: Part 1) 30
4 New Words for New Images: Adon Lacroix and the Modern Poetry Movement (1913: Part 2) 50
5 Approaching the Art of Painting in Two Dimensions: The Paintings, Drawings, and Watercolors of 1914 73
6 The Art of Painting in Two Dimensions, Part 1: The Paintings, Drawings, and Watercolors of 1915 111
7 The Art of Painting in Two Dimensions, Part 2: The Paintings, Drawings, Watercolors, and Collages of 1916 145
8 The Art of Painting in More than Two Dimensions: The Paintings, Drawings, Watercolors, Cliche Verre, and Airbrush Compositions of 1917-1919 175
9 From an Art in Two Dimensions to the Higher Dimension of Ideas (1920-1921) 208
Afterword: Artists and Art Colonies of Ridgefield, New Jersey 217
Document A A Primer of the New Art of Two Dimensions 225
Document B Texts for The Revolving Doors 226
Document C Card File 228
Chronology 229
Notes 235
Bibliography 251
Index 257
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