American artist Man Ray spend the most productive years of his career, during the 1920s and 1930s, in Paris.

This biography captures Man Ray's life on the Left Bank of Paris between the two World Wars with intriguing stories of artists, models, dealers, & poets, along with Man Ray's stunning black-and-white images of everyone from Picasso, Duchamp, Dali & Gertrude Stein.

Man Ray (1890 –1976) was a pioneer of the Dada movement in the United States and France and a central protagonist of Surrealism. Today he is one of the best-known American artists of the twentieth century, celebrated above all for his innovative and often seductively glamorous photography. Surprisingly, given Man Ray’s key role in the history of early-twentieth-century Modernism, a comprehensive collection of his writings on art has not been published in English until now. Man Ray: Writings on Art fills a conspicuous gap in scholarship on the artist and his period. It brings together his most significant writings, many of them published here for the first time. These occasionally quixotic texts, which include artist books, essays, interviews, letters, and visual poems, reveal the incredible scale of the artist’s output and the remarkable continuity of his aesthetic and political beliefs. This volume offers a long overdue vision of Man Ray as someone who used words both as a creative medium and as a means of articulating ideas about the nature and value of art. With richly reproduced illustrations, it provides powerful insight not only to scholars of art history and academics, but also to working artists and those who count themselves as Man Ray fans.

Memoirs of Montparnasse is a delicious book about being young, restless, reckless, and without cares. It is also the best and liveliest of the many chronicles of 1920s Paris and the exploits of the lost generation. In 1928, nineteen-year-old John Glassco escaped Montreal and his overbearing father for the wilder shores of Montparnasse. He remained there until his money ran out and his health collapsed, and he enjoyed every minute of his stay. Remarkable for their candor and humor, Glassco’s memoirs have the daft logic of a wild but utterly absorbing adventure, a tale of desire set free that is only faintly shadowed by sadness at the inevitable passage of time.

"Describes with plenty of colour how surrealism, from Rene Magritte's bowler hats to Salvador Dali's watches, was born and developed." - The Times (UK) As she did for the Modernists In Montmartre, noted art historian and biographer Sue Roe now tells the story of the Surrealists in Montparnasse. In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dalí’s Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and cafés of that vibrant neighborhood. Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dalí. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary—and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived. Roe puts us with Gertrude Stein in her box seat at the opening of The Rite of Spring; with Duchamp as he installs his famous urinal; at a Cocteau theatrical with Picasso and Coco Chanel; with Breton at a session with Freud; and with Man Ray as he romances Kiki de Montparnasse. Stein said it best when she noted that the Surrealists still saw in the common ways of the 19th century, but they complicated things with the bold new vision of the 20th. Their words mark an enormously important watershed in the history of art—and they forever changed the way we all see the world.

This book reassesses the role of Russian Montparnasse writers in the articulation of transnational modernism generated by exile. Examining their production from a comparative perspective, it demonstrates that their response to urban modernity transcended the Russian master narrative and resonated with broader aesthetic trends in interwar Europe.

The human face has fascinated photographers and their audiences ever since the medium's inception in the 19th century. And just as photography has changed since its invention, so has the way in which the human face is portrayed. Using the work of photography's great pioneers to its contemporary innovators, this book traces the stunning technical possibilities of camera and film. As subject matter, the human face is continually manipulated through amazingly diverse aesthetic strategies -- playful, imaginative, provocative and even subversive. Here nine brilliant essays focus on the many techniques of rendering the photographic portrait such as photocollage, multiple exposures, digitalization, and animation. The book includes nearly 150 images ranging from Francis Galton's composite pictures from the 1880s, pictorialism at the turn of the century, experiments by the avant-garde and subjective photography of the post-war years to today's synthesized photographs and interactive sculptures. The book arranges the photographs into five thematic sections, revealing how the act of reinventing the classic image of the human face compels us to reexamine our relationships with others and with life itself.

"In the bohemian and brilliant Montparnasse of the 1920s, Kiki escaped poverty to become one of the most charismatic figures of the avant-garde years between the wars. Partner to Man Ray, she would be immortalised by many artists. The muse of a generation, she was one of the first emancipated women of the 20th century." -- Provided by publisher.