Editing Man Ray (section)

==Biography==
===Background and early life===
[[File:Man Ray - (watercolor) Landscape (Paysage Fauve) - Smithsonian American Art Museum.jpg|thumb|upright|Man Ray, 1913, ''Landscape'' (''Paysage Fauve''),  watercolor on paper, 35.2 x 24.6 cm, [[Smithsonian American Art Museum]]]]

During his career, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray,<ref name= BaldwinBio>[[Neil Baldwin (writer)|Baldwin, Neil]]. ''Man Ray: American Artist''; Da Capo Press; {{ISBN|0-306-81014-X}} (1988, 2000)</ref> and his 1963 autobiography ''Self-Portrait'' contains few dates.<ref>{{Cite news |last=Rosenberg |first=Karen |date=2009-11-19 |title=Mercurial Jester, Revealing and Concealing |url=https://www.nytimes.com/2009/11/20/arts/design/20ray.html |access-date=2024-07-15 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

Man Ray was born Emmanuel Radnitzky in [[South Philadelphia]] on August 27, 1890.<ref>{{cite book |title=Encyclopedia of Twentieth-Century Photography |date=November 15, 2005 |publisher=Routledge |isbn=9781135205362 |editor-last=Warren |editor-first=Lynne |volume=2 |pages=1000 |chapter=Man Ray |chapter-url=https://books.google.com/books?id=31VsBgAAQBAJ&q=%22born+on+August+27,+1890%22&pg=PA1000}}</ref><ref name="Jewish Identity" /> He was the eldest child of [[History of the Jews in Russia#United States|Russian Jewish immigrants]]<ref name="Jewish Identity" /> Melach "Max" Radnitzky, a tailor, and Manya "Minnie" Radnitzky (née Lourie or Luria).<ref name="1900 Federal Census">1900 United States Federal Census</ref><!--ref name="1910 Federal Census">[[:file:1910 United States Federal Census - New York - Kings - Brooklyn - Ward 27 - District 0812.jpg|1910 United States Federal Census]]</ref><ref name="1920 Federal Census">[[:file:1920 United States Census - New York, New York - Manhattan - Assembly District 10 - District 0714.jpg|1920 United States Federal Census]]</ref--> He had a brother, Sam, and two sisters, Dorothy "Dora" and Essie (or Elsie),<ref name="1900 Federal Census" /> the youngest born in 1897 shortly after they settled at 372 Debevoise St. in [[Williamsburg, Brooklyn]].<ref name="Jewish Identity" /> In early 1912, the Radnitzky family changed their surname to Ray; Sam chose this surname in reaction to the antisemitism prevalent at the time. Emmanuel, who was nicknamed "Manny", changed his first name to Man and gradually began to use Man Ray as his name.<ref name=BaldwinBio/><ref name=Conv2Mod>[[Francis Naumann]], ''Conversion to Modernism: The Early Work of Man Ray''. Rutgers University Press: {{ISBN|0-8135-3148-9}} (2003).</ref>

[[File:Man Ray, Rencontre dans la porte tournante.jpg|thumb|upright|left|Man Ray, {{circa|1921}}–1922, ''Rencontre dans la porte tournante'', published on the cover (and page 39) of ''[[Der Sturm]]'', Volume 13, Number 3, March 5, 1922]]
Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. He enlisted his children to assist him from an early age. Man Ray's mother enjoyed designing the family's clothes and inventing [[patchwork]] items from scraps of fabric.<ref name=BaldwinBio/> Man Ray wished to distance himself from his family background, but tailoring left an enduring mark on his art. [[Mannequin]]s, [[Clothes iron|flat irons]], sewing machines, needles, pins, threads, swatches of fabric, and other items related to tailoring appear in much of his work,<ref name=HeydJewishID>Milly Heyd; "Man Ray/Emmanuel Rudnitsky: Who is Behind the Enigma of Isidore Ducasse?"; in ''Complex Identities: Jewish Consciousness and Modern Art''; ed. Matthew Baigell and Milly Heyd; Rutgers University Press; {{ISBN|0-8135-2869-0}} (2001).</ref> and art historians have noted similarities between Ray's collage and painting techniques and styles used for tailoring.<ref name=Conv2Mod/>

Mason Klein, curator of the exhibition ''Alias Man Ray: The Art of Reinvention'' at the [[Jewish Museum (Manhattan)|Jewish Museum]] in New York, suggests that Man Ray may have been "the first Jewish avant-garde artist."<ref name="Jewish Identity">{{citation | url=http://www.thejewishweek.com/viewArticle/c347_a17217/The_Arts/Museums.html |date=November 10, 2009 |title=Man Ray's Jewish Identity: 'Concealing And Revealing' |first=Eric |last=Herschthal |work=[[The Jewish Week]] |archive-url=https://web.archive.org/web/20100127075614/http://www.thejewishweek.com/viewArticle/c347_a17217/The_Arts/Museums.html |archive-date=January 27, 2010 |url-status=dead |quote=Klein suggests that Ray may have even been the first Jewish avant-garde artist, though it is a tenuous claim given both the movement and Man Ray's disavowal of ethnic identity.}}</ref>

Man Ray was the uncle of the photographer [[Naomi Savage]], who learned some of his techniques and incorporated them into her own work.<ref name="HellerHeller2013">{{cite book |author1=Jules Heller |author2=Nancy G. Heller|title=North American Women Artists of the Twentieth Century: A Biographical Dictionary |url=https://books.google.com/books?id=AYxmAgAAQBAJ&pg=PR11 |date=December 19, 2013 |publisher=Routledge |isbn=978-1-135-63882-5}}</ref>

===First artistic endeavors===
[[File:Man Ray, 1919, Seguidilla, airbrushed gouache, pen & ink, pencil, and colored pencil on paperboard, 55.8 x 70.6 cm, Hirshhorn Museum and Sculpture Garden.jpg|thumb|Man Ray, 1919, ''Seguidilla'', airbrushed gouache, pen & ink, pencil, and colored pencil on paperboard, 55.8 × 70.6&nbsp;cm, [[Hirshhorn Museum and Sculpture Garden]], [[Smithsonian Institution]], Washington, D.C.]]

Man Ray displayed artistic and mechanical abilities during childhood. His education at Brooklyn's [[Boys and Girls High School|Boys' High School]] from 1904 to 1909 provided him with solid grounding in [[technical drawing|drafting]] and other basic art techniques. While he attended school, he educated himself with frequent visits to local art museums. After his graduation, Ray was offered a scholarship to study architecture but chose to pursue a career as an artist. Man Ray's parents were disappointed by their son's decision to pursue art, but they agreed to rearrange the family's modest living quarters so that Ray's room could be his studio.<ref name=BaldwinBio/> The artist remained in the family home over the next four years. During this time, he worked steadily towards becoming a professional painter. Man Ray earned money as a commercial artist and was a [[Technical illustration|technical illustrator]] at several Manhattan companies.<ref name=BaldwinBio/><ref name=Conv2Mod/>

The surviving examples of his work from this period indicate that he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of contemporary avant-garde art, such as the European modernists he saw at [[Alfred Stieglitz]]'s [[291 (art gallery)|291]] gallery and works by the [[Ashcan School]]. However, he was not yet able to integrate these trends into much of his own work. The art classes he sporadically attended, including stints at the [[National Academy of Design]] and the [[Art Students League of New York|Art Students League]], were of little apparent benefit to him. When he enrolled at the [[Ferrer Center and Colony|Ferrer Centre]] in the autumn of 1912, he began a period of intense and rapid artistic development.<ref name=Conv2Mod/> The Centre, established and run by [[Anarchism|anarchists]] in memory of the executed Catalan anarchist educationalist [[Francisco Ferrer]],<ref>{{Cite book |last=Veysey |first=Laurence |title="The Ferrer Colony and Modern School". In: The Communal Experience: Anarchist and Mystical Counter-Cultures in America. |publisher=Harper & Row |year=1973 |isbn=978-0-06-014501-9 |location=New York |pages=77–177}}</ref> provided classes in drawing and lectures on art-criticism.<ref name="Conv2Mod" /> There [[Emma Goldman]] noted "a spirit of freedom in the art class which probably did not exist anywhere else in New York at that time."<ref name="Conv2Mod" /> Man Ray exhibited works in the Centre's 1912-13 group exhibition, with his painting ''A Study in Nudes'' reproduced in a review of the show in the Centre's associated magazine ''The Modern School''.<ref name="Conv2Mod" /> This may have been Man Ray's first published art work, and the magazine would go on to print his first published poem (''Travail'') in 1913. During this period he also contributed illustrations to radical publications, including providing the cover-art for two 1914 issues of Emma Goldman's journal [[Mother Earth (magazine)|Mother Earth]].<ref name="Conv2Mod" />[[File:Man Ray, 1920, The coat-stand (Porte manteau).jpg|thumb|left|upright|Man Ray, 1920, ''The Coat-Stand'' (''Porte manteau''), reproduced in New York dada (magazine), Marcel Duchamp and Man Ray, April 1921<ref>[http://bibliothequekandinsky.centrepompidou.fr/clientBookline/service/reference.asp?INSTANCE=incipio&OUTPUT=PORTAL&DOCID=0473982&DOCBASE=CGPP New York dada (magazine), Marcel Duchamp and Man Ray, April, 1921], Bibliothèque Kandinsky, Centre Pompidou</ref>]]
[[File:Man Ray, Lampshade, 391, n. 13, July 1920.jpg|thumb|upright|Man Ray, ''Lampshade'', reproduced in [[391 (magazine)|391]], n. 13, July 1920]]
[[File:Man Ray, Dessin.jpg|thumb|upright|Man Ray, {{circa|1921}}–22, ''Dessin'' (''Drawing''), published on page 43 of ''[[Der Sturm]]'', Volume 13, Number 3, March 5, 1922]]

Man Ray's work at this time was influenced by the avant-garde practices of European contemporary artists he was introduced to at the 1913 [[Armory Show]]. His early paintings display facets of [[cubism]]. After befriending [[Marcel Duchamp]], who was interested in showing movement in static paintings, his works began to depict movement of the figures. An example is the repetitive positions of the dancer's skirts in ''The Rope Dancer Accompanies Herself with Her Shadows'' (1916).<ref>{{cite web|url=http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3716&page_number=5&template_id=1&sort_order=1 |title=The Collection &#124; Man Ray. The Rope Dancer Accompanies Herself with Her Shadows. 1916 |publisher=MoMA |access-date=January 6, 2012}}</ref>

In 1915, Man Ray had his first solo show of paintings and drawings after taking up residence at an art colony in [[Grantwood, New Jersey]].<ref>Staff. [https://select.nytimes.com/gst/abstract.html?res=F10D14FF345C137B93CBA8178AD95F428785F9 "Man Ray Is Dead in Paris at 86; Dadaist Painter and Photographer"], ''[[The New York Times]]'', November 19, 1976. Retrieved December 15, 2013. "His style changed in 1915 to 'reducing human figures to flat-patterned disarticulated forms.' He was living at the time in Ridgefield, N.&nbsp;J."</ref> His first proto-Dada object, an assemblage titled ''Self-Portrait'', was exhibited the following year. He produced his first significant photographs in 1918, after initially picking up the camera to document his own artwork.<ref name="auto">{{cite book|last1=Ray|first1=Man|year=1999|title=Self Portrait: Man Ray|edition=First paperback|publisher=Bulfinch|isbn=0-8212-2474-3|language=en}}</ref>

Man Ray abandoned conventional painting to involve himself with the radical [[Dada]] movement. He published two Dadaist periodicals, that each only had one issue, ''The Ridgefield Gazook'' (1915) and ''TNT'' (1919), the latter co-edited by [[Adolf Wolff]] and [[Mitchell Dawson]].<ref>{{cite thesis |last=Husar |first=Emma |date=2017 |title=In the Spirit of Dada Man Ray, The Ridgefield Gazook, and TNT |type=Honors |publisher=University of Iowa |url=https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1123&context=honors_theses |archive-url=https://web.archive.org/web/20171105201555/http://ir.uiowa.edu/cgi/viewcontent.cgi?article=1123&context=honors_theses |url-status=dead |archive-date=November 5, 2017 |access-date=January 7, 2019}}</ref><ref>{{cite web |url=https://mms.newberry.org/xml/xml_files/Dawson.xml |title=Inventory of the Mitchell Dawson Papers, 1810-1988 |website=The Newberry |access-date=January 7, 2019 |archive-date=January 8, 2019 |archive-url=https://web.archive.org/web/20190108100726/https://mms.newberry.org/xml/xml_files/Dawson.xml |url-status=dead }}</ref> He started making objects and developed unique mechanical and photographic methods of making images. For the 1918 version of ''Rope Dancer'', he combined a spray-gun technique with a pen drawing. Like Duchamp, he worked with [[Readymades of Marcel Duchamp|readymades]]—ordinary objects that are selected and modified. His readymade ''[[The Gift (sculpture)|The Gift]]'' (1921) is a [[Clothes iron|flatiron]] with metal tacks attached to the bottom, and ''Enigma of Isidore Ducasse''<ref>{{cite web |url=http://www.imj.org.il/imagine/collections/item.asp?table=comb&itemNum=194410 |title=IMAGINE – The Israel Museum's searchable collections database |publisher=Imj.org.il |access-date=January 6, 2012}}</ref> is an unseen object (a sewing machine) wrapped in cloth and tied with cord. ''Aerograph'' (1919), another work from this period, was done with airbrush on glass.<ref>{{cite web |url=http://www.stedelijk.nl/en/artwork/27789-aerograph |title=Man Ray, ''Aerograph'', 1919, Stedelijk Museum, Amsterdam |access-date=June 18, 2015 |archive-url=https://web.archive.org/web/20150618235648/http://www.stedelijk.nl/en/artwork/27789-aerograph |archive-date=June 18, 2015 |url-status=dead }}</ref>

In 1920, Man Ray helped Duchamp make his ''[[Marcel Duchamp#Kinetic art|Rotary Glass Plates]]'', one of the earliest examples of [[kinetic art]]. It was composed of glass plates turned by a motor. That same year, Man Ray, [[Katherine Dreier]], and Duchamp founded the [[Société Anonyme (art)|Société Anonyme]], an itinerant collection that was the first museum of [[modern art]] in the U.S. In 1941 the collection was donated to [[Yale University Art Gallery]].<ref name="Cabanne, P">{{Cite book|url=https://books.google.com/books?id=4SNKDgAAQBAJ&dq=cabanne%2C+Marcel+Duchamp+military+service&pg=PT14|archiveurl=https://web.archive.org/web/20171115143609/https://books.google.com/books?id=4SNKDgAAQBAJ&pg=PT14&dq=cabanne,+Marcel+Duchamp+military+service&hl=en&sa=X&ved=0ahUKEwje6oi3mMDXAhXHWxQKHTsbBb8Q6AEIKDAA|url-status=dead|title=Dialogues With Marcel Duchamp|first=Pierre|last=Cabanne|date=July 21, 2009|archivedate=November 15, 2017|publisher=Hachette Books|isbn = 9780786749713|via=Google Books}}</ref>

Man Ray teamed up with Duchamp to publish one issue of ''[[New York Dada]]'' in 1920. For Man Ray, Dada's experimentation was no match for the wild and chaotic streets of New York.<ref name="pbs.org">{{cite web |url=https://www.pbs.org/wnet/americanmasters/episodes/man-ray/prophet-of-the-avant-garde/510/ |title=Man Ray – Prophet of the Avant-Garde &#124; American Masters |publisher=PBS |date=September 17, 2005 |access-date=January 6, 2012}}</ref> He wrote that "Dada cannot live in New York. All New York is dada, and will not tolerate a rival."<ref name="pbs.org"/>

In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887–1975), in New York. They married in 1914, separated in 1919, and formally divorced in 1937.<ref>Lacroix's first marriage had been to Adolf Wolff, an immigrant anarchist sculptor and poet, born in Brussels, Belgium.</ref>

===Paris===
[[File:Man Ray, 1922, Untitled Rayograph.jpg|thumb|upright|Man Ray, 1922, Untitled Rayograph, gelatin silver photogram, 23.5 x 17.8&nbsp;cm]]

In July 1921, Man Ray went to live and work in Paris, settling in the [[Montparnasse]] quarter favored by many artists. His accidental rediscovery of the cameraless [[photogram]], which he called "rayographs", resulted in mysterious images hailed by [[Tristan Tzara]] as "pure Dada creations".<ref>{{cite web |title=Untitled |url=https://www.artic.edu/artworks/55529/untitled |website=The Art Institute of Chicago |year=1923 |language=en}}</ref>

Shortly after arriving in Paris, he met and fell in love with [[Alice Prin]] (popularly known as "Kiki de Montparnasse"), an artists' model and celebrated character in Paris bohemian circles. Prin was Man Ray's companion for most of the 1920s, and became the subject of some of his most famous photographic images. She also starred in his experimental films ''[[Le Retour à la raison]]'' and ''[[L'Étoile de mer]]''.

In 1929, he began a love affair with the Surrealist photographer [[Lee Miller]].<ref>{{Citation | author1=Shinkle, Eugénie, 1963- | author2=ProQuest (Firm) | title=Fashion as photograph : viewing and reviewing images of fashion | date=2008 | pages=71–72 | publisher=I.B. Tauris | isbn=978-0-85771-255-4 }}</ref><ref name=Independent>{{cite news|author=Charles Darwent|title=Man crush: When Man Ray met Lee Miller|url=https://www.independent.co.uk/arts-entertainment/art/features/man-crush-when-man-ray-met-lee-miller-8463783.html|access-date=May 9, 2014|newspaper=[[The Independent]]|date=January 27, 2013}}</ref><ref name=JDGiovanni>Giovanni, Janine D. "What's a Girl to Do When a Battle Lands in Her Lap?" ''New York Times Magazine'' Winter 2007: 68-71. ProQuest. March 2, 2017</ref> She was also his [[photographic assistant]] and, together,<ref name="Penrose-4771">{{cite web |last1=Penrose |first1=Roland |author1-link=Roland Penrose |title=Picnic [Nusch Éluard, Paul Éluard, Lee Miller, Unknown, Man Ray, Ady Fidelin]- 4771 |url=https://www.leemiller.co.uk/media/Ck3g11OMBdU8ln77Wqg0Ug..a |website=LeeMiller.co.uk |access-date=March 13, 2022 |archive-date=March 19, 2022 |archive-url=https://web.archive.org/web/20220319081213/https://www.leemiller.co.uk/media/Ck3g11OMBdU8ln77Wqg0Ug..a |url-status=dead }}</ref><ref name="Miller-3697">{{cite web |last1=Miller |first1=Lee |author1-link=Lee Miller |title=3697 - Nusch and Paul Ėluard, Roland Penrose, Man Ray and Ady Fidelin |url=https://www.leemiller.co.uk/media/qV_cx2kw1PGFhANSZJObZA..a |website=LeeMiller.co.uk |access-date=March 13, 2022 |archive-date=March 13, 2022 |archive-url=https://web.archive.org/web/20220313191538/https://www.leemiller.co.uk/media/qV_cx2kw1PGFhANSZJObZA..a |url-status=dead }}</ref><ref name="Miller-1101">{{cite web |last1=Miller |first1=Lee |author1-link=Lee Miller |title=1101 - Man Ray and Ady Fidelin, Picasso, Nusch and Paul Éluard and Roland Penrose, the picnic |url=https://www.leemiller.co.uk/media/5pot--3czCgsNOKYn8gP1g..a |website=LeeMiller.co.uk |access-date=March 13, 2022 |archive-date=March 13, 2022 |archive-url=https://web.archive.org/web/20220313191616/https://www.leemiller.co.uk/media/5pot--3czCgsNOKYn8gP1g..a |url-status=dead }}</ref> they reinvented the photographic technique of [[Solarization (photography)|solarization]]. Miller left him in 1932.

From late 1934 until August 1940, Man Ray was in a relationship with Adrienne Fidelin.<ref>''Yo, Adrienne'', The New York Times, February 25, 2007,  [https://www.nytimes.com › 2007 › 02 › 25 › style › tmagazine › 25tmodel.html]</ref><ref>{{Cite news |last=Felder |first=Rachel |date=2022-04-29 |title=Overlooked No More: Ady Fidelin, Black Model 'Hidden in Plain Sight' |url=https://www.nytimes.com/2022/04/29/obituaries/ady-fidelin-overlooked.html |access-date=2025-03-30 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> She was a [[Guadeloupean]] dancer and model and she appears in many of his photographs. When Ray fled the Nazi occupation in France, Adrienne chose to stay behind to care for her family.<ref>Wendy A. Grossman and Sala E. Patterson, "Adrienne "Ady" Fidelin" in ''Dictionary of Caribbean and Afro-Latin American Biographies'', ed. Franklin W. Knight and Henry Louis Gates Jr.; Oxford University Press, 2016.</ref> Unlike the artist's other significant muses, Fidelin had until 2022 largely been written out of his life story.<ref>{{Cite book |title=Le modèle noir: de Géricault à Matisse [exposition, Paris, Musée d'Orsay, 26 mars-21 juillet 2019, Pointe-à-Pitre, Mémorial ACTE, 13 septembre-29 décembre 2019] |date=2019 |publisher=Musée d'Orsay Flammarion |isbn=978-2-35433-281-5 |editor-last=Établissement public du musée d'Orsay et du Musée de l'Orangerie-Valéry Giscard d'Estaing |location=Paris |pages=306–311 |editor-last2=Miriam and Ira D. Wallach art gallery |editor-last3=Mémorial ACTE}}</ref>

Man Ray was a pioneering photographer in Paris for two decades between the wars. Many significant members of the art world, such as [[Pablo Picasso]], [[Tristan Tzara]], [[James Joyce]], [[Gertrude Stein]], [[Jean Cocteau]], [[Salvador Dalí]], [[Peggy Guggenheim]], [[Bridget Bate Tichenor]],<ref name="Man Ray">{{cite web |url=http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=1015080 |title=Christie's Photography Auction, London, May 1, 1996, Lot 213/Sale 558 ''Man Ray – Bridget Bate, 1941'' |publisher=Christies.com |access-date=January 6, 2012}}</ref> [[Luisa Casati]],<ref>{{Cite web|url=https://www.getty.edu/art/collection/objects/46751/man-ray-the-marquise-casati-with-horses-american-1935/|title=[The Marquise Casati with Horses] (Getty Museum)|website=The J. Paul Getty in Los Angeles}}</ref> and [[Antonin Artaud]], posed for his camera. His international fame as a portrait photographer is reflected in a series of photographs of [[Maharajah]] [[Yashwant Rao Holkar II]] and his wife Sanyogita Devi from their visit to Europe in 1927.<ref>{{Cite web|url=https://www.architecturaldigest.com/story/how-maharaja-yeshwant-holkar-and-maharani-sanyogita-devi-turned-indore-into-a-art-deco-paradise|title=How Maharaja Yeshwant Holkar and Maharani Sanyogita Devi Turned Indore Into a Art Deco Paradise|first=Mitchell|last=Owens|website=Architectural Digest| date=August 2, 2019 }}</ref><ref>{{Cite web|url=http://www.theartnewspaper.com/preview/a-thoroughly-modern-maharaja-how-an-indian-prince-amassed-one-of-the-world-s-greatest-collections-of-modern-design|title=Thoroughly Modern Maharaja: how an Indian prince amassed one of the world's greatest interwar design collections|website=www.theartnewspaper.com|date=September 18, 2019 }}</ref> In the winter of 1933, surrealist artist [[Méret Oppenheim]], known for her fur-covered teacup, posed nude for Man Ray in a well-known series of photographs depicting her standing next to a [[printing press]].<ref>{{cite web |title=Meret Oppenheim {{!}} Widewalls |url=https://www.widewalls.ch/artists/meret-oppenheim |website=www.widewalls.ch |access-date=February 12, 2021 |language=en}}</ref>

His practice of photographing African objects in the Paris collections of [[Paul Guillaume]] and Charles Ratton and others led to several iconic photographs, including ''Noire et blanche''. As Man Ray scholar Wendy A. Grossman has illustrated, "no one was more influential in translating the vogue for African art into a Modernist photographic aesthetic than Man Ray."<ref>{{citation |title=Man Ray, African Art, and the Modernist Lens |first=Wendy |last=Grossman |publisher=University of Minnesota Press |year=2009 |page=4 |isbn=978-0816670178}}</ref>

[[File:Chess Set Man Ray.jpg|thumb|Chess Set by Man Ray]]

Man Ray was represented in the first [[Surrealism|Surrealist]] exhibition with [[Jean Arp]], [[Giorgio de Chirico]], [[Max Ernst]], [[Georges Malkine]], [[André Masson]], [[Joan Miró]], and [[Pablo Picasso]] at the Galerie Pierre in Paris in 1925. Important works from this time were a metronome with an eye, originally titled ''[[Object to Be Destroyed]]'', and the ''Violon d'Ingres'',<ref>{{Cite web |title=Le Violon d&#x27;Ingres (Ingres&#x27;s Violin) (The J. Paul Getty Museum Collection) |url=https://www.getty.edu/art/collection/object/104E4A |access-date=2025-03-30 |website=The J. Paul Getty Museum Collection |language=en}}</ref> a stunning photograph of [[Kiki de Montparnasse]],<ref>{{citation |title=Self Portrait |first=Man |last= Ray |publisher=Little, Brown and Company |year=1963 |page=158}}</ref> styled after the painter/musician [[Jean-Auguste-Dominique Ingres|Ingres]]. ''Violon d'Ingres'' is a popular example of how Man Ray could juxtapose disparate elements in his photography to generate meaning.<ref>Penrose, Roland. Man Ray. 1. Boston: New York Graphic Society, 1975. Pg 92</ref>

Man Ray directed a number of influential [[avant-garde]] short films, known as ''[[Cinéma Pur]]''. He directed ''[[Le Retour à la Raison]]'' (2 mins, 1923); ''[[Emak-Bakia]]'' (16 mins, 1926); ''[[L'Étoile de Mer]]'' (15 mins, 1928); and ''[[Les Mystères du Château de Dé]]'' (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film ''[[Anemic Cinema]]'' (1926), and Ray personally manned the camera on [[Fernand Léger]]'s ''[[Ballet Mécanique]]'' (1924). In [[René Clair]]'s film ''[[Entr'acte (film)|Entr'acte]]'' (1924), Man Ray appeared in a brief scene playing [[chess]] with Duchamp.<ref>{{Cite web |url=http://www.manray-photo.com/catalog/product_info.php?cPath=28&products_id=14 |title=Entr'acte photo with Duchamp and Man Ray |access-date=March 19, 2021 |archive-date=March 19, 2022 |archive-url=https://web.archive.org/web/20220319081211/http://www.manray-photo.com/catalog/product_info.php?cPath=28&products_id=14 |url-status=dead }}</ref> Duchamp, Man Ray, and [[Francis Picabia]] were all friends and collaborators, connected by their experimental, entertaining, and innovative art.<ref>{{citation | title= Winter Museum Preview: Top 5 London | first= Chris | last= Bors | work=Art+Auction  | date= January 9, 2008 | url=http://www.artinfo.com/news/story/26385/winter-museum-preview-top-5-london/ | access-date=April 23, 2008 }}</ref><ref>[https://books.google.com/books?id=k5qvm7pOI8AC&dq=man%20ray%20american%20artist&pg=PA64 Neil Baldwin, ''Man Ray American Artist'']{{Dead link|date=May 2023 |bot=InternetArchiveBot |fix-attempted=yes }}. Retrieved July 17, 2010</ref>

===Hollywood===
The [[Second World War]] forced Man Ray to return to the United States. He lived in Los Angeles from 1940 to 1951, where he focused his creative energy on painting. A few days after arriving in Los Angeles, he met [[Juliet Browner]], a first-generation American of [[History of the Jews in Romania|Romanian-Jewish]] lineage. She was a trained dancer who studied dance with [[Martha Graham]],<ref name="Juliet's obituary">{{cite web | url=https://www.nytimes.com/1991/01/21/obituaries/juliet-man-ray-79-the-artist-s-model-and-muse-is-dead.html | title=Juliet Man Ray, 79, The Artist's Model And Muse, Is Dead | work=[[The New York Times]] | date=January 21, 1991 | access-date=December 3, 2014 | author=Flint, Peter B.}}</ref> and an experienced artists' model. They married in 1946 in a double wedding with their friends [[Max Ernst]] and [[Dorothea Tanning]]. They were also close friends with [[Black Dahlia]] suspect [[George Hodel]] and his second wife Dorothy Harvey (also known as Dorero). George Hodel’s son Steve Hodel even proposes that the staging of the murder was an homage to Man Ray’s surrealist creations.<ref>{{cite podcast | url= https://www.iheart.com/podcast/598-root-of-evil-the-true-stor-30467611/ | title= Root of Evil | publisher=iHeart}}</ref> In 1948 Ray had a solo exhibition at the [[William Copley (artist)|Copley Galleries]] in Beverly Hills, which brought together a wide array of work and featured his newly painted canvases of the ''Shakespearean Equations'' series.<ref>Andrew Strauss, "To Be Continued Unnoticed: Mathematics and Shakespeare in Hollywood," in Wendy A. Grossman, et al., ''Man Ray—Human Equations: A Journey from Mathematics to Shakespeare'', Hatje Cantz, 2015</ref>

===Later life===
Man Ray returned to Paris in 1951, and settled with Juliet into a studio at 2 bis rue Férou near the [[Jardin du Luxembourg]], where he continued his creative practice across mediums.<ref>Neil Baldwin, Man Ray: American Artist, p. 278</ref> During the last quarter century of his life, he returned to a number of his iconic earlier works, recreating them in new form. He also directed the production of limited-edition replicas of several of his objects, working first with Marcel Zerbib and later [[Arturo Schwarz]].<ref>{{Cite news |last=Traub |first=Alex |date=July 23, 2021 |title=Arturo Schwarz, Refugee Who Became a Surrealism Tycoon, Dies at 97 |language=en-US |work=The New York Times |url=https://www.nytimes.com/2021/07/23/arts/arturo-schwarz-dead.html |access-date=April 13, 2023 |issn=0362-4331}}</ref>

In 1963, he published his autobiography, ''Self-Portrait'' (republished in 1999).<ref name="auto"/>

[[File:Man Ray - Tombe - Cimetière du Montparnasse.jpg|thumb|right|Grave of Juliet and Man Ray in Paris.]]
Ray continued to work on new paintings, photographs, collages and art objects<ref>{{cite web|url=https://www.theartstory.org/artist/ray-man/|title=Man Ray|access-date=August 19, 2022}}</ref> until his death from a lung infection, in Paris, on November 18, 1976. He was interred in the [[Montparnasse Cemetery|Cimetière du Montparnasse]] in Paris,<ref>Wilson, Scott. ''Resting Places: The Burial Sites of More Than 14,000 Famous Persons'', 3d ed.: 2 (Kindle Locations 38837-38838). McFarland & Company, Inc., Publishers. Kindle Edition.</ref> his epitaph reads "Unconcerned, but not indifferent". When Juliet died in 1991, she was interred in the same tomb. Her epitaph reads "Together again". Juliet organized a trust for Ray's work and donated much of his work to museums. Her plans to restore the studio as a public museum proved too expensive; such was the structure's disrepair. Most of its contents were stored at the [[Centre Pompidou]] museum.<ref name="Juliet's obituary"/>