Torse (Retour à la raison) (Torso [Return to Reason])

Inscription: Signed and dated (lower right, on larger mount, in pencil): Man Ray 1923

Marking: Stamped (verso): MAN RAY / 31 bis, RUE / CAMPAGNE / PREMIERE / PARIS XIVe

the artist (from 1923; his gift to Goodbread); his sister, Mrs. Dorothy Goodbread, Philadelphia (until d. 1996); by descent to Naomi Savage, New Jersey (sold to Jedermann); Jedermann Collection, Princeton, N.J.; [PaceMacGill Gallery, New York, until 1997; sold in 1997 to Pritzker]; John A. Pritzker (from 1997)

London. Serpentine Gallery. "Man Ray," January 8–March 12, 1995, unnumbered cat. (as "Retour à la Raison," lent by a private collection).

New York. Jewish Museum. "Alias Man Ray: The Art of Reinvention," November 15, 2009–March 14, 2010, unnumbered cat. (fig. 85; as "Retour à la raison," 1922, lent by a private collection).

La Révolution Surréaliste 1, no. 1 (December 1, 1924), ill. p. 4.

Tristan Tzara. "Man Ray und die Photographie von der Kehrseite." Das Kunstblatt 10 (1926), ill. p. 229 (not this version).

Will Grohmann. "Zu Man Ray." Das Kunstblatt 10 (1926), p. 227, generally discusses the photographs reproduced in Ref. Tzara 1926.

Jean Gallotti. "La photographie est=elle un art?: Man Ray." L'Art Vivant 5, no. 103 (April 1, 1929), ill. p. 283 (not this version), calls it "Torse".

ReD 2 (April 1929), ill. p. 240 (not this version).

Man Ray. Photographs by Man Ray: 1920 Paris 1934. Hartford, 1934, ill. p. 25 (not this version).

Lee Miller. "I Worked With Man Ray." Lilliput 9 (October 1941), ill. p. 322 (not this version).

Janus. Man Ray: L'Immagine Fotografica. Venice, 1977, p. 189, no. 40, ill. and ill. p. 56 (not this version), calls it "Retour à la raison".

Brigitte Hermann and Jean-Hubert Martin in Man Ray: Photographe. Exh. cat., Musée national d'art moderne, Centre national d'art et de culture Georges Pompidou. Paris, 1981, p. 87, no. 95, ill. p. 97 (not this version, Museum of Modern Art, New York collection), call it "Retour à la raison".

Rosalind E. Krauss in In the Mind's Eye: Dada and Surrealism. Ed. Terry Ann R. Neff. Exh. cat., Museum of Contemporary Art, Chicago. New York, 1984, p. 49, fig. 9 (not this version), calls it "Return to Reason".

Jane Livingston in Rosalind Krauss and Jane Livingston. L’Amour Fou: Photography and Surrealism. Exh. cat., Corcoran Gallery of Art, Washington, D.C. New York, 1985, p. 125.

Dawn Ades in Rosalind Krauss and Jane Livingston. L’Amour Fou: Photography and Surrealism. Exh. cat., Corcoran Gallery of Art, Washington, D.C. New York, 1985, pp. 159–60.

J. H. Matthews. "Modes of Documentation: Photography in 'La Révolution surréaliste'." Modern Language Studies 15 (Summer 1985), pp. 39–40, 48 n. 1.

Rosalind Krauss in Rosalind Krauss and Jane Livingston. L'Amour Fou: Photography and Surrealism. Exh. cat., Corcoran Gallery of Art, Washington, D.C. New York, 1985, p. 74, fig. 67 (not this version, collection Art Institute of Chicago), calls it "Return to Reason (Retour à la raison)".

Mary Ann Caws. "Ladies Shot and Painted: Female Embodiment in Surrealist Art." The Female Body in Western Culture: Contemporary Perspectives. Ed. Susan Rubin Suleiman. Cambridge, Mass., 1986, p. 274.

Billy Klüver and Julie Martin in Perpetual Motif: The Art of Man Ray. Exh. cat., National Museum of American Art, Smithsonian Institution, Washington, D. C. New York, 1988, p. 151, fig. 123 (not this version, collection Art Institute of Chicago), calls it "Light Striped Torso".

Mary Ann Caws. "Ladies Shot and Painted: Female Embodiment in Surrealist Art." The Expanding Discourse: Feminism and Art History. Ed. Norma Broude and Mary D. Garrard. New York, 1992, pp. 388–89, fig. 4, calls it "Retour à la raison" [reprints Ref. Caws 1986].

Emmanuelle de l'Ecotais in Man Ray: La Photographie à l'envers. Exh. cat., Galeries nationales du Grand Palais. Paris, 1998, p. 254, ill. p. 135 (not this version, collection Art Institute of Chicago), calls it "Retour à la raison".

Ingrid Schaffner. "Plates." Julian Levy: Portrait of an Art Gallery. Ed. Ingrid Schaffner and Lisa Jacobs. Cambridge, Mass., 1998, pl. 40 (not this version, Thomas Walther Collection), calls it "Retour à la Raison (Return to Reason)".

Hal Foster in Surrealism: Desire Unbound. Ed. Jennifer Mundy. Exh. cat., Tate Modern. London, 2001, pp. 217–18, calls it "Return to Reason".

Emmanuelle de l'Ecotais and Mark Levitch in Leah Dickerman. Dada. Exh. cat., Centre Pompidou, Musée national d'art moderne, Paris. Washington, D.C., 2005, pp. 411, 413, discuss the 1923 film "Retour à la raison".

Noam M. Elcott. "Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers' Co-Op and Back Again." Grey Room no. 30 (Winter 2008), p. 23, ill. (not this version), calls it "Retour à la raison".

Mason Klein in Mason Klein. Alias Man Ray: The Art of Reinvention. Exh. cat., Jewish Museum, New York. New Haven, 2009, p. 87, fig. 85.

Katharine Conley. Surrealist Ghostliness. Lincoln, Neb., 2013, pp. 27, 29–36, 40–41, 48, 71, 237 n. 6, discusses the film "Retour à la raison".

Rune Gade in Man Ray. Ed. Karolina Peterson et al. Exh. cat., Mjellby Konstmuseum. Halmstad, 2013, pp. 138, 193, fig. 2 (not this version; collection Fondazione Marconi, Milan), calls it "Retour à la raison".

Elza Adamowicz. Dada Bodies: Between Battlefield and Fairground. Manchester, England, 2019, p. 208, fig. 10.1 (not this version).

Arthur Lubow. Man Ray: The Artist and His Shadows. New Haven, 2021, pp. 59–60, 76, 83, 91, discusses the film "Le Retour à la raison".

Stephanie D'Alessandro in Stephanie D'Alessandro and Stephen C. Pinson. Man Ray: When Objects Dream. Exh. cat., The Metropolitan Museum of Art. New York, 2025, pp. 219–20, 305, colorpl. 141.

Micayla Bransfield in Stephanie D'Alessandro and Stephen C. Pinson. Man Ray: When Objects Dream. Exh. cat., The Metropolitan Museum of Art. New York, 2025, pp. 294, 297.

Stephen C. Pinson in Stephanie D'Alessandro and Stephen C. Pinson. Man Ray: When Objects Dream. Exh. cat., The Metropolitan Museum of Art. New York, 2025, p. 146.