Manley's personal experience

Man ray, whose real name is Emanuel Radnitsky, 1890 was born in the south of Philadelphia, Pennsylvania, USA. He is the eldest son of a Russian Jewish immigrant family. His father was originally from Russia. After immigrating to the United States, he was a Finnish mother with a younger brother and two younger sisters. The youngest brother was born in 1988, and their family moved to Williamsburg, Brooklyn, new york. 19 12 years, the Radnitsky family changed its surname to Lei. Manley's younger brother chose this surname in order to avoid racial discrimination and anti-Semitism prevailing at that time. On the other hand, Emanuel used man ray as his name, because his nickname also means "human". Light "indicates that he will be a radiant person in the future, and his works of art are constantly expressed by light." This Brooklyn teenager who calls himself "another Da Vinci" expects himself to be an omnipotent person.

Manlei's father works in a garment factory and runs a small tailor's shop. Children have helped their father in business since childhood at his request. Manley's mother likes to design clothes for her family and often makes collages out of rags. Manlei hopes to get rid of the influence of family background, but his family's clothing tradition has left a clear mark on his art. Human models, irons, sewing machines, needles, paper clips, threads, textiles with different textures and other clothing-related items appear in almost all his works. Art historians have found that Manley's works, painting skills and sewing methods have great similarities. Mei Sen Clay, the agent, named the exhibition of Manly's works held at the Jewish Museum in new york as "Manly: The Art of Innovation". Clay thinks that man ray is probably the first Jewish avant-garde artist. Man ray showed his artistic and mechanical talent in his childhood. From 1904 to 1908, he attended Brooklyn boys' high school. The education during this period laid a solid artistic foundation for him, such as engineering drawing. When he was a student, he often went to the local art museum to study early European art works. After graduation, man ray won a scholarship from the Department of Architecture, but he finally chose to pursue an artistic career. Lei's parents were disappointed that he chose an artistic career, but they still agreed to transform the limited family house so that Lei could have his own studio. Ray has been working from home for the next four years. During this period, he devoted himself to becoming a professional painter. Ray became a commercial painter, drawing engineering sketches for several companies in Manhattan.

The existing works show that Manlei mainly created works imitating the style of19th century during this period. At that time, he was already an ardent admirer of contemporary avant-garde art, and his works included European modernist works exhibited by Alfred Gretz in 29 1 Gallery and paintings by Asgan Shigu. However, apart from some small attempts, Manley did not show this style in his works. The art schools he occasionally attended, including the National Academy of Arts and the new york Students' Art League, had no obvious influence on his artistic style. However, after 19 12 entered Fari School in the autumn, Lei began to make great progress in art. During his stay in new york, Manlei was influenced by the 19 13 weapons exhibition, that is, the international modern art exhibition and the European contemporary art exhibition, and his early works showed cubism. After becoming friends with marcel duchamp, his works began to show the movement of objects, because Duchamp was very interested in showing movement in still life paintings. Examples include his repetition of the position of the dancer's skirt in his work The Rope Dancer and Her Shadow.

19 15 Manlei opened his first solo exhibition, including his oil paintings and sketches. His first pre-Dadaism work-a collective work called self-portrait-was exhibited in the following year. 19 18, he took the first group of significant photos.

Man ray abandoned the traditional painting techniques and added Dadaism, an anti-art movement, to his works. He began to make objects for photography and developed unique mechanical and photographic skills in making images. In the 19 18 version of "Rope Dancer", he combined sketch and spray gun technology to create. Like Duchamp, he makes ready-made works of art-ordinary objects that have been selected and decorated. His gift ready-made artwork consists of an iron shelf and metal at the bottom. The mystery of Isdor Dukasa lies in wrapping an unknown object with cloth (actually a sewing machine) and then tying it with a rope. Another work of the same period, Aerial Photo, was made on glass with a spray gun.

1920, Manley helped Duchamp make a rotating glass plate. This is his first mechanical work and one of the earliest representative works of dynamic art. This work is composed of some glass plates driven by motors. In the same year, Manley, Catherine Duchamp and Duchamp jointly launched Anonymous Society, a mobile exhibition hall and the first museum of modern art in the United States.

1920, Manley and Duchamp jointly published a new york Dada Movement. Man ray thinks that the experiment of Dadaism is insignificant compared with the wild and chaotic streets of new york. "Dada can't take root in new york," he wrote. New york is Dadaism, and this city will not allow its competitors to survive here. "

19 13 man ray met his first wife, the Belgian poet Arden Lacolox, in new york. They got married 19 14, separated 19 19, and finally divorced 1937. 1921July, Manley left new york to live and work in Paris. He quickly settled down in the headquarters of Mon panas, which is a place favored by artists. Shortly after his arrival in Paris, he met the giant panda Kai De Meng panas (played by Alice Spring) and fell in love. Mon panas is a famous artistic model in the Bohemian circle. The giant panda Kai accompanied Manlei through the whole 1920. Some of man ray's most famous photographs are based on the giant panda Kai, and he also plays the leading role in experimental films directed by man ray. But after 1929, he started another relationship with surrealist photographer lee miller.

Salvador dali and man ray assisted photographer Karl von Witten in shooting angry eyes in Paris. During the next 20 years in Mon panas, Manley became a widely respected photographer. Many famous artists, including James Joyce, gertrude stein and Jean Cocqueteaux, have appeared in his lens.

From 65438 to 0925, Manley's works were exhibited together with those of Joan Miró and Picasso in the first surrealist exhibition in Paris. A work in this period, originally named "Things to be Destroyed" (later renamed "Invincible Things"), shows a metronome with one eye. Another important work of this period is Ingrass's violin, which is an amazing portrait of the giant panda Kai De Mon panas imitating the image of painter and musician ingels. Ingrass's violin is a typical example of Manley's style. He often combines irrelevant elements in photography to create unique effects and connotations.

From 65438 to 0934, the surrealist artist Marit O 'Benheim, who is famous for his fur teacups, took nude photos of Manley. Manley took a series of famous photos, in which oppenheim stood next to a publishing house.

Manley and his photography assistant and lover, lee miller, improved the overexposure photography technique. He also created a shadow photo of an object, which he called a "light and shadow photo". He called this photo pure Dadaism.

Man ray has directed many avant-garde short films, which are part of the pure film movement. His works have a series of short films of different lengths. He also assisted Duchamp in filming the anemia film industry. He is in charge of the filming of Fernand Leger's film Mechanical Ballet. In the complicated film Reynet Clare, Manley made a cameo role, playing chess with Duchamp in a short shot.

Duchamp, man ray and Francis Bikabia are friends and collaborators. The three of them are connected by the experimental, entertaining and innovative nature of their art. Man ray, filmed by Lu Se Kawara Tsutomu. 1975, Manley had to return to the United States from Paris because of World War II. He lived in Los Angeles, California from 1940 to 195 1. A few days after arriving in Los Angeles, he met Juliet Bronner, a first-generation American immigrant of Romanian Jews. She is a professional dancer and an experienced artist model. They lived together almost immediately, and then 1946 got married. However, he still called Mon panas home and finally returned to Paris.

1963 published autobiography "Self-portrait", 1999 reprinted (ISBN 0-82 12-2474-3).

Manlei died of lung infection in June 1976+0 18 10/8. He was buried in Mon panas Cemetery. Manley's epitaph is "Never hesitate, but never be indifferent". Juliet died at 199 1 and was buried with Manlei. The epitaph was "Reunion". Juliet set up a trust company for man ray's works and donated most of his works to the museum.

After man ray's death, the international photography community has not forgotten this versatile old man. 196 1 year, the Venice Biennale photo exhibition awarded him the gold medal. Among them, there are roving exhibitions held at London Institute of Modern Art 1959, Paris 1962, Los Angeles Art Museum 1966, Europe 197 1 to 1972. 1966, the German Federal Photography Society awarded him the Cultural Award. At the same time, European and American countries held his personal film exhibition. 1982, a large-scale memorial exhibition of man ray was held in the center of Pompidou, and more than 300 of his photographs and paintings were exhibited. From 65438 to 0988, a retrospective exhibition of Man Lei's life was held in the National Gallery of America. Man ray lived in France for 44 years, and Paris was his main creative base. So it gives people the illusion of "French". To be exact, he is an American who works in France.