《琪琪·曼·雷:1920年代巴黎的艺术、爱情与竞争》马克·布劳德著(书评)

IF 0.1 4区 文学 0 LITERATURE, ROMANCE
Virginie Ems-Bléneau
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And yet, this book is perhaps better described as the story of an era, the interwar years, and more accurately, the story of a neighborhood and a people: the bohemian artists of Montparnasse. As astutely shown by Braude, Kiki and Man Ray embodied the heart and soul of that time and place. Kiki, born Alice Prin in a small town of Burgundy in 1901, is one of the most famous yet forgotten characters of interwar Paris. She is best known as the muse and lover of photographer Man Ray, and subject (or object) of his illustrious 1924 Violon d’Ingres: a photo of Kiki transformed into an instrument by affixing two black f-holes to her disrobed back. The two met in 1921; Kiki, a young model who had already posed for several aspiring artists such as Maurice Mendjizky (with whom she lived for three years) and more famously Moïse Kisling, caught the attention of Man Ray and a friend after making a scene in a restaurant. 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引用次数: 0

摘要

书评:《Kiki Man Ray: 1920年代巴黎的艺术、爱情与竞争》作者:Mark Braude《琪琪·曼·雷:1920年代巴黎的艺术、爱情与竞争》诺顿出版社,2022。ISBN 978-1-324-00601-5。304页。读者一定会被这本书的标题所吸引。难道Kiki Man Ray是一个人,一个鲜为人知的美国著名摄影师的笔名?还是说,这本书会讲述两个人的故事,琪琪(Kiki)和曼·雷(Man Ray),两个恋人——或者像副标题所暗示的那样,是竞争对手——这两位艺术家的生活和贡献如此紧密地交织在一起,以至于即使在制作标题时,作者也没有,或者无法将他们分开。然而,这本书也许更适合被描述为一个时代的故事,两次世界大战之间的岁月,更准确地说,是一个社区和一个民族的故事:蒙帕纳斯的波西米亚艺术家。正如布劳德敏锐地展示的那样,琪琪和曼·雷体现了那个时代和那个地方的核心和灵魂。琪琪原名爱丽丝·普林,1901年出生在勃艮第的一个小镇,是两次世界大战之间巴黎最著名却又被遗忘的人物之一。她最为人所知的身份是摄影师曼·雷(Man Ray)的缪斯和情人,也是他1924年著名的作品《Violon d’ingres》的主题(或对象):照片中的琪琪(Kiki)在裸露的后背上贴上两个黑洞,变成了一件乐器。两人于1921年相遇;琪琪是一位年轻的模特,她已经为几位有抱负的艺术家做过模特,比如莫里斯·门吉兹基(她和他一起生活了三年),以及更著名的Moïse吉斯林。她在一家餐馆里拍了一场戏,引起了曼·雷和一个朋友的注意。虽然琪琪从来没有给摄影师摆过姿势,但她立刻被这个神秘的美国男人的自信所吸引。受朋友马塞尔·杜尚(Marcel Duchamp)的启发,曼·雷(Man Ray)搬到了法国,希望以画家的身份加入达达主义运动,但随着他的照片受到关注,他不顾自己的梦想,完善了这种艺术形式。这也许是他们竞争的根源:虽然他帮助提高了她的名声,引导了许多艺术家,如藤田津春、基斯·范·东恩或佩尔·克罗格为她作画,但她自己也成为了一位受人尊敬的艺术家。她开始在巴黎的卡巴莱演出,但最重要的是,她在1927年举办了一场个人艺术展,在那里她卖掉了所有的画作,这是曼·雷从未实现的壮举。这对夫妇招待了一群不拘一格的先锋派作家、音乐家和艺术家:德斯诺(Desnos)、科克托(Cocteau)、布列塔尼(Breton)、吉斯林(Kisling)、克洛格(Krohg)、莱姆格(lassinger)和皮卡比亚(Picabia)等等。但这种激动人心的生活也有黑暗的一面:抑郁、毒品和酒精消耗着这对夫妇,就像他们的激情一样。他们的分离,伴随着1929年华尔街的崩盘,标志着一个时代的结束,也标志着他们的爱情和名声的结束。她在生命的最后二十年里一直在与毒瘾作斗争,而他的抑郁症则把他带到了自杀的边缘。51岁时,琪琪在自家门前昏倒,独自死去,留下了昔日魅力的影子。这是一本引人入胜的传记,讲述了两个生活在20世纪20年代短暂乌托邦时代的天才人物。[End Page 218] Virginie ems - blacimneau Georgia Southern University版权所有©2023美国法语教师协会
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Kiki Man Ray: Art, Love and Rivalry in 1920s Paris by Mark Braude (review)
Reviewed by: Kiki Man Ray: Art, Love and Rivalry in 1920s Paris by Mark Braude Virginie Ems-Bléneau Braude, Mark. Kiki Man Ray: Art, Love and Rivalry in 1920s Paris. W. W. Norton & Co, 2022. ISBN 978-1-324-00601-5. Pp. 304. Readers will certainly be intrigued by the title of this book. Was Kiki Man Ray a person, a little-known pseudonym of the famous American photographer, perhaps? Or will this book tell the story of two individuals, Kiki and Man Ray, two lovers––or rivals as suggested by the subtitle––two artists whose lives and contributions are so closely intertwined that even in crafting a title, the author did not, or could not, separate them. And yet, this book is perhaps better described as the story of an era, the interwar years, and more accurately, the story of a neighborhood and a people: the bohemian artists of Montparnasse. As astutely shown by Braude, Kiki and Man Ray embodied the heart and soul of that time and place. Kiki, born Alice Prin in a small town of Burgundy in 1901, is one of the most famous yet forgotten characters of interwar Paris. She is best known as the muse and lover of photographer Man Ray, and subject (or object) of his illustrious 1924 Violon d’Ingres: a photo of Kiki transformed into an instrument by affixing two black f-holes to her disrobed back. The two met in 1921; Kiki, a young model who had already posed for several aspiring artists such as Maurice Mendjizky (with whom she lived for three years) and more famously Moïse Kisling, caught the attention of Man Ray and a friend after making a scene in a restaurant. While Kiki had never posed for a photographer, she was immediately charmed by the confidence of this mysterious American man. Inspired by his friend Marcel Duchamp, Man Ray had moved to France in the hopes of joining the Dada movement as a painter, but as his photographs gained attention, he perfected this artform despite his own dreams. That is perhaps the root of their rivalry: while he helped increase her fame, leading many artists such as Tsuguharu Foujita, Kees Van Dongen or Per Krohg to paint her, she became a well-regarded artist of her own. She began performing in cabarets around Paris, but most importantly, she secured a solo art show in 1927 where she sold all her paintings, a feat that Man Ray never achieved. The couple entertained an eclectic crowd of avant-garde writers, musicians and artists: Desnos, Cocteau, Breton, Kisling, Krohg, Léger, and Picabia, to name a few. But this thrilling life had a dark side: depression, drugs, and alcohol consumed the couple as much as their passion. Their separation, along with the Wall Street crash of 1929, marked the end of an era, but also of their love and their fame. She spent the last twenty years of her life battling addiction while his depression took him to the edge of suicide. Kiki collapsed in front of her home at the age of 51, dying alone a mere shadow of her former glamourous self. This is the fascinating biography of two talented individuals who inhabited the short-lived utopia of the 1920s. [End Page 218] Virginie Ems-Bléneau Georgia Southern University Copyright © 2023 American Association of Teachers of French
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来源期刊
FRENCH REVIEW
FRENCH REVIEW LITERATURE, ROMANCE-
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期刊介绍: The French Review is the official journal of the American Association of Teachers of French and has the largest circulation of any scholarly journal of French studies in the world at about 10,300. The Review publishes articles and reviews in English and French on French and francophone literature, cinema, society and culture, linguistics, technology six times a year. The May issue is always a special issue devoted to topics like Paris, Martinique and Guadeloupe, Québec, Francophone cinema, Belgium, Francophonie in the United States, pedagogy, etc. Every issue includes a column by Colette Dio entitled “La Vie des mots,” an exploration of new developments in the French language.
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