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 Un Chien Andalou (1929)

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cavetocanvas: Léon Bakst, Textile Print, c. 1922

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free-parking: Joan Miró, This Is the Color of My Dreams, 1925

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rudyvalentinolove: Rudolph Valentino in “Monsieur Beaucaire” (1924)

The Saphead, 1920

(Source: littlehorrorshop, via lostsplendor)

332 notes | 5 months ago

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omgthatdress: Ensemble Coco Chanel, 1929 The Metropolitan Museum of Art

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etund: Salvador Dali, photographed by Man Ray in 1929.

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Man Ray Le Violon d’Ingres 1924 Inspired by Jean-Auguste-Dominique Ingres’s La Grande Baigneuse, Ray used Kiki de Montparnasse wearing a turban as a model for this piece. He transformed the female body into a musical instrument by painting sound-holes on her back, playing with the idea of objectification of an animate body. Throughout his career Man Ray was fascinated with juxtaposing an object with a female body. 

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f-featherbrain: Christian Schad, Lotte, 1927

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Man Ray Indestructible Object (or Object to Be Destroyed) 1923 Man Ray re-created this work multiple times after making the original. The piece was first intended as a silent witness in Ray’s studio - watching him paint. In the second version, which was published in the avant-garde journal This Quarter, in 1932, Ray substituted the eye of Lee Miller, his former lover, after she left him and married a successful Egyptian businessman. He wanted to attack Miller by “breaking her up” in his works that feature her, and thus this second version, called Object of Destruction, was accompanied by the following instructions: “Cut out the eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow.” At an exhibition in 1957, a group of students followed the instructions and destroyed the object. It was later reconstructed and made into multiples using the money Man Ray received from the insurance. He renamed the work Indestructible Object.