Names: | Born: Emmanuel Radnitsky Other: Emmanuel Radenski Other: Emmanuel Rudnitzky
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| Dates: | 1890, 27 August - 1976, 18 November | Born: | US, PA, Philadelphia | Died: | France, Paris | Active: | France / US | American surrealist photographer and artist. A major fashion photographer in the 1920s and 30s he was also able to blend his commercial work with experimental styles that endeared him to the Dada and Surrealist movements.Preparing biographies Biography provided by Focal Press Noted for his "Rayographs," lens-less photograms exploring the pure use of light, his darkroom experiments with the Sabattier effect, and his innovative mixed media assemblages. A Dadaist provocateur, he became the only American member of the surrealist movement. From 1921 to 1939 he combined artistic endeavors with commercial practice, becoming a noted portraitist of Parisian intellectuals and artists, and establishing a reputation as a fashion photographer. The Nazi occupation forced his escape to Hollywood where he established himself as a controversial figure of the American avant-garde before returning to Paris in 1951. (Author: Garie Waltzer - Photographer and consultant) Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409] (Used with permission)
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Family history If you are related to this photographer and interested in tracking down your extended family we can place a note here for you to help. It is free and you would be amazed who gets in touch. alan@luminous-lint.com |
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Exhibitions on this website |
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Man Ray
The bibliography on Man Ray is vast but there are a couple of items that I'd like to bring to your attention.
Emmanuelle de l’Ecotais completed his Phd at at Sorbonne dealing with Man Ray and this is covered in his thesis “Le fonds photographique de la dation Man Ray, étude et inventaire”, which is available on microfiche.
The analysis of a single photograph is included in:
Wendy A. Grossman and Steven Manford, “Unmasking Man Ray’s Noire et blanche,” American Art 20/2 (Summer 2006): 134-147
The following books are useful starting points to obtain brief biographies but they are not substitutes for the monographs on individual photographers. |
• Auer, Michele & Michel 1985 Encyclopedie Internationale Des Photographes de 1839 a Nos Jours / Photographers Encylopaedia International 1839 to the present (Hermance, Editions Camera Obscura) 2 volumes [A classic reference work for biographical information on photographers.] • Beaton, Cecil & Buckland, Gail 1975 The Magic Eye: The Genius of Photography from 1839 to the Present Day (Boston and Toronto: Little, Brown & Company) p.144 [Useful short biographies with personal asides and one or more example images.] • Capa, Cornell (ed.) 1984 The International Center of Photography: Encyclopedia of Photography (New York, Crown Publishers, Inc. - A Pound Press Book) p.421-422 • Coke, Van Deren with Diana C. Du Pont 1986 Photography: A Facet of Modernism (New York: Hudson Hills Press, The San Francisco Museum of Art) p.178 • Evans, Martin Marix (Executive ed.) 1995 Contemporary Photographers [Third Edition] (St. James Press - An International Thomson Publishing Company) [Expensive reference work but highly informative.] • Fernandez, Horacio (ed.) 2000 Fotografía Pública: Photography in Print 1919-1939 (Aldeasa) p.166-167 [This Spanish exhibition catalogue is one of the best sources for illustrations of photomontage and book design for the period between the two World Wars.] • Lenman, Robin (ed.) 2005 The Oxford Companion to the Photograph (Oxford: Oxford University Press) [Includes a short biography on Man Ray.] • Weaver, Mike (ed.) 1989 The Art of Photography 1839-1989 (New Haven and London: Yale University Press) p.461 [This exhibition catalogue is for the travelling exhibition that went to Houston, Canberra and London in 1989.] • Witkin, Lee D. and Barbara London 1979 The Photograph Collector’s Guide (London: Secker and Warburg) p.186-187 [Long out of print but an essential reference work - the good news is that a new edition is in preparation.]
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If there is an analysis of a single photograph or a useful self portrait I will highlight it here. |
Photographic collections are a useful means of examining large numbers of photographs by a single photographer on-line.
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"I do not photograph nature. I photograph my visions." | "I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive.
I think you have to have a real point of view that‘s your own. You have to tell it your way. And, I think that it‘s a mistake to shoot for a specific magazine‘s point of view because it‘s never going to be as good. You have to shoot for yourself and photograph the way you believe it." | "I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence." | "I photograph the things that I do not wish to paint, the things which already have an existence." | "It has never been my object to record my dreams, just the determination to realize them." | "Of course, there will always be those who look only at technique, who ask "how," while others of a more curious nature will ask ‘why‘. Personally, I have always preferred inspiration to information." |
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