.jpg?w=1)
Lot Essay
Cette oeuvre de Man Ray est entièrement liée à l'histoire de son commanditaire: le poète et écrivain français Louis Aragon. Celui-ci demanda au photographe une image pour illustrer un passage de ses Oeuvres romanesques croisées: sa recontre avec Elsa Triolet en 1928, "son destin" comme il aimait à le rappeler. Man Ray réemploya un rayogramme de 1931 représentant l'éclairage de la Tour Eiffel par Fernand Jacopozzi sur lequel il opposa un photogramme de deux visages anonymes. Ces silouhettes blanches incarnent Louis Aragon et Elsa Triolet, quand leurs regards se sont croisés la première fois pour ne plus jamais se quitter.
This Man Ray photograph is entirely linked to the French poet and writer Louis Aragon, who patronaged the work. He asked Man Ray a picture to illustrate a section of Oeuvres Romanesques croisées, the moment when he first met Elsa Triolet in 1928, ‘his destiny’ as Aragon used to recall. Man Ray reused a 1931 rayograph depicting the Eiffel Tower lighting by Fernand Jacopozzi on which he appended two anonymous figures facing each other. These white profiles embody Louis Aragon and Elsa Triolet, when they fell in love at first sight.
This Man Ray photograph is entirely linked to the French poet and writer Louis Aragon, who patronaged the work. He asked Man Ray a picture to illustrate a section of Oeuvres Romanesques croisées, the moment when he first met Elsa Triolet in 1928, ‘his destiny’ as Aragon used to recall. Man Ray reused a 1931 rayograph depicting the Eiffel Tower lighting by Fernand Jacopozzi on which he appended two anonymous figures facing each other. These white profiles embody Louis Aragon and Elsa Triolet, when they fell in love at first sight.