Man Ray made cameraless photographs (Rayograms, he called them) by placing objects on a sheet of photographic paper and exposing it to light. Though he followed a procedure much like the photographic experiments undertaken by Talbot nearly one hundred years earlier, Man Ray used the technique to make abstract compositions from commonplace domestic items. The resulting spatial, tonal, and gestural qualities of these compositions challenged traditional modes of visual apprehension and representation.
Inscription: Inscribed in pencil on print, verso, LR: "MR 7367C"
Man Ray; [Timothy Baum on consignment to Zabriskie]; [Zabriskie Gallery to Waddell, March 8, 1982]; John C. Waddell
New Mexico Museum of Art. "Proto-Modern Photography," July 11, 1992–October 11, 1992.
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 3," October 3, 1993–March 1, 1994.
The Metropolitan Museum of Art. "Photography: Processes, Preservation, and Conservation," January 30, 2001–May 6, 2001.
Heckscher Museum of Art. "Man Ray in the Age of Electricity," May 20, 2006–August 13, 2006.
Turner, Elizabeth Hutton. Americans in Paris (1921-1931) : Man Ray, Gerald Murphy, Stuart Davis, Alexander Calder. Washington, D.C.: Phillips Collection, 1996. p. 84.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. p. 161, fig. 53.
This image is one of the 12 photographs published in "Les Champs Délicieux," Paris, 1922. According to Waddell, Zabriskie Gallery acquired this print from Timothy Baum, whose description of image's background is attached to the invoice. VH 01-27-1992 visit to MoMA, which owns a copy of Les Champs Délicieux (Acc. No. 253.35.1-12), purchased in 1935, Exemplaire No. 1, signed: this image is the second plate in the book.