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Slim Aarons
Man Ray in Paris Estate Edition Photograph [Left Bank Surrealist Artist Studio]
1968

Name: Man Ray in Paris Estate Edition Photograph [Left Bank Surrealist Artist Studio]
Brand: Slim Aarons
Price: 2500 USD
Availability: InStock

About the Item

Iconic American surrealist artist and photographer Man Ray (1890 - 1976) with some examples of his work at his historic Left Bank studio in Paris, April 1956. Description: In this classic photograph, the artist holds a sunglass-wearing broom with a flyer for his exhibition at the legendary L'Etoile scellée, founded by André Breton. Slim Aarons Man Ray in Paris, 1956 (L'Etoile scellée) Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American modernist and surrealist visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and he was a renowned fashion and portrait photographer. Man Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself. About L'Etoile scellée: Founder of surrealism André Breton (1896–1966) had roles as an advisor to three Parisian galleries: La galerie Surréaliste, 16, rue Jacques Callot, 1926–28; La galerie Gradiva, 31, rue de Seine, 1937–1938; and A L'Etoile scellée, 11, rue du Pré-aux-Clercs, 1952–56. The name of the third gallery, A L'Etoile scellée, can be translated as "At the Sealed Star" and was suggested by René Alleau. This appealed to the interest in alchemy that Breton shared with other surrealists. As the gallery name could be read phonetically as "ah les toiles c'est laid" — "ah the canvases are rude" — it also appealed to their love of word games. The gallery seems to have been financed by Sophie Babet, who closed it abruptly in June 1956. The first two group shows, in December 1952 and February 1953, included surrealists — Ernst, Tanguy, Brauner, Lam, Paalen, Man Ray, and Toyen. There was a further surrealist group show in April–May 1954 of work by Dominguez, Labisse, and Magritte, and in July 1954 the gallery was involved in the Pinturas surrealistas exhibition shown at the Galeria de Lima. There were one-person shows for the surrealists Toyen (1953 and 1955), Man Ray (1956), and Meret Oppenheim (1956). Some of the artists provided images for the short-lived surrealist magazine, Medium: communication surrealiste, published in an edition of three thousand by Eric Losfeld: Hantai (November 1953 issue), Paalen (February 1954), Svanberg (May 1954), and Lam (January 1955). But the bulk of the shows were by younger or less well-known artists, and those associated with tachisme (championed by Charles Estienne), who was also an advisor to the gallery), art brut/primitivism, or eroticism. Breton gave the first Paris show to Slavko Kopac, who had introduced himself by leaving a painting outside Breton's front door. Realism, championed by communists, was not represented by any of the artists. The inclusion of abstract artists in the gallery's program was not popular with many surrealists. And Man-Ray pointedly sub-titled his show "non-abstractions." The Frick Art Reference Library has eleven(link is external) of the gallery catalogues. Some are small single sheets with distinctive folding and cut-outs: Toyen (1953), in the shape of two connected hands; Kopac (1953), in the form of a bird; and the Galeria di Lima show, in the shape of a moth, perhaps also made by Kopac. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons *

Creator:

Slim Aarons (1916-2006, American)

Creation Year:

1968

Dimensions:

Height: 24 in (60.96 cm)Width: 20 in (50.8 cm)

Medium:

Lambda

Movement & Style:

Realist

Period:

1960-1969

Framing:

Framing Options Available

Condition:

Gallery Location:

Los Angeles, CA

Reference Number:

1stDibs: LU1488304072

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Slim Aarons

American photographer Slim Aarons captured the 20th century’s international jet set — U.S. socialites, European royalty, Hollywood stars — at play in sun-kissed locales like Monaco, Saint-Tropez and Palm Beach, as well as other luxurious settings around the globe.

Committed to eschewing makeup and artificial lighting, Aarons created images that are at once candid and polished, combining the relaxed posture of his subjects, who trusted him to document their lives, with the visual sharpness of a seasoned art director. Having gotten his start taking pictures for the U.S. military magazine Yank during World War II, he contributed over the course of his career to Life, Town and Country and Holiday magazines and published several books.

Aarons was born in Manhattan in 1916. He joined the army at 18, shooting military maneuvers at West Point before serving as a combat photographer, for which he was awarded a Purple Heart. After the war, he moved to California and began snapping socialites and movie stars. In the 1950s, he opened a bureau for Life magazine in Rome, where he took pictures capturing the postwar scene. Aarons was always able to win the trust of his elite subjects, who saw him as close to a peer, rather than a paparazzo. In a 2002 interview with The Independent, he remarked, ''I knew everyone. They would invite me to one of their parties because they knew I wouldn't hurt them. I was one of them.'' This access allowed Aarons to document the rich and famous with their guard down, reading newspapers and magazines, talking on the phone, relaxing by the pool, and chatting with friends. The 1957 photograph The Kings of Hollywood, for example, which won him wide acclaim, shows Clark Gable, Van Heflin, Gary Cooper and Jimmy Stewart laughing together as they celebrate New Year’s Eve.

Many of Aarons’s best-known images involve games and sports. In the 1972 Poolside Backgammon, two young women play the board game of the title against the backdrop of a majestic Acapulco estate. In 1958’s Cannes Watersports, a couple attempts to glide across the Golfe de la Napoule on Jet Skis, one expertly and one hanging on for dear life. And in Penthouse Pool, shot in Athens in 1961, a young woman wearing a yellow bathing cap smiles coyly at the camera, surrounded by friends and brightly colored seat cushions, with the Acropolis faintly visible in the background. Among Aarons’s books are 1974’s A Wonderful Time: An Intimate Portrait of the Good Life, and its 2003 sequel, Once Upon a Time. His final book, A Place in the Sun, was published in 2005, one year before his death.

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