Editing Alice Prin (section)

== Modeling career ==
Adopting a single name, "Kiki", Prin became a fixture of the Montparnasse social scene and a popular model, posing for dozens of artists, including [[Sanyu (painter)|Sanyu]], [[Chaïm Soutine]], [[Julien Mandel]], [[Tsuguharu Foujita]], [[Constant Detré]], [[Francis Picabia]], [[Jean Cocteau]], [[Arno Breker]], [[Alexander Calder]], [[Per Krohg]], [[Hermine David]], [[Pablo Gargallo]] and [[Tono Salazar]].{{sfn|Jiminez|2013|pp=438–439}} [[Moïse Kisling]] painted a portrait of Kiki titled ''Nu assis'', one of his best known. In his 1976 book ''Memoirs of Montparnasse'', Canadian poet [[John Glassco]] recalled that: {{Blockquote|Her maquillage was a work of art in itself ...her mouth painted a deep scarlet that emphasized the sly erotic humor of its contours. Her face was beautiful from every angle, but I liked it best in full profile, when it had the lineal purity of a stuffed salmon.{{sfn|Blume|1999}}}}

In Autumn 1921, Prin met the American visual artist [[Man Ray]], and the two soon entered into a stormy eight-year relationship.{{sfn|Jiminez|2013|pp=438–439}}{{sfn|Blume|1999}} She lived with Man Ray in his studio on rue Campagne-Première until 1929 during which time he made hundreds of portraits of her.{{sfn|Jiminez|2013|pp=438–439}} She became his muse at the time and the subject of some of his best-known images, including the [[surrealist]] image ''[[Le Violon d'Ingres]]'' (Ingres' Violin) and ''[[Noire et Blanche|Noire et blanche]]'' (Black and White).{{sfn|Braude|2022}}{{sfn|Man Ray|1924}}{{sfn|Man Ray|1926}}

During their turbulent relationship, Man Ray labored obsessively on Prin's makeup and visual image.{{sfn|Klein|2009|p=144}} He "took her many steps beyond the primitive charcoal eyebrow-pencil she used for makeup as a teenager."{{sfn|Klein|2009|p=221}} Every night before going out together, he "meticulously applied her cosmetics and assisted in the choice of her clothes, creating a visual style that is as much a part of his ''oeuvre'' as any of his signed paintings".{{sfn|Klein|2009|p=144}} Her makeup often varied in "the color, thickness, and angle according to his mood. Her heavy eyelids, next, might be done in copper one day and royal blue another, or else in silver and jade."{{sfn|Klein|2009|p=221}}

By 1929, Prin had reached the zenith of her fame. She had appeared in nine short and frequently experimental films, including [[Fernand Léger]]'s 1923 [[Dada]]ist work ''[[Ballet mécanique]]'' without any credit.{{sfn|Jiminez|2013|pp=438–439}} A symbol of [[Bohemianism|bohemian]] and creative Paris and of the possibility of being a woman and finding an artistic place, she was elected the ''Queen of [[Montparnasse]]'' at age 28. Despite her local fame, she continued to live a hand-to-mouth existence. Even during difficult times, she maintained her positive attitude, saying "all I need is an onion, a bit of bread, and a bottle of red [wine]; and I will always find somebody to offer me that."{{sfn|Blume|1999}}