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colette a fermé ses portes

colette closed on

le 20 décembre 2017.

December 20th, 2017

  • colette Team
    colette Team
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  • Henrik Most
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  • Alireza Niroomand
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    Caperino et Peperone
  • colette Team
    colette Team
  • Craig Redman
    Craig Redman
  • Kevin Lyons
    Kevin Lyons
  • Caroline de Maigret
    Caroline de Maigret
  • Sébastien Jondeau
    Sébastien Jondeau
  • Amy Verner
    Amy Verner
  • Maxim
    Maxim
  • Pedro Winter
    Pedro Winter
  • Pharrell Williams
    Pharrell Williams
  • Henrik Most
    Henrik Most
  • Emilie
    Emilie
  • Alireza Niroomand
    Alireza Niroomand
  • Clément Vaché
    Clément Vaché
  • Betina
    Betina
  • Futura
    Futura
  • Loic Prigent
    Loic Prigent
  • Amikist
    Amikist
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Cyriel
    Cyriel
  • Nadège Winter
    Nadège Winter
  • Guillaume Salmon
    Guillaume Salmon
  • Luca
    Luca
  • Peter Boesch
    Peter Boesch
  • Caperino et Peperone
    Caperino et Peperone

Les commandes « Click & Collect » (retrait chez colette) seront honorées jusqu’au 15 janvier 2018. Vous pourrez les retirer au 203 rue Saint Honoré 75001 Paris, fond de cour, du lundi au vendredi, 10h-18h, muni d’une copie de la facture imprimée et de votre pièce d’identité.fr

The « Click & Collect » orders will be available until January 15th. You can pick them up at 203 rue Saint Honoré 75001 Paris, Back of the courtyard, Monday to Friday 10AM - 6PM, along with a copy of the invoice and your ID.en

colette accepte les retours expédiés sous 14 jours après réception de votre commande. Les produits doivent être retournés dans leur état et emballage d’origine, accompagnés d’une copie de la facture, à l’adresse suivante :
colette Eshop, 203 rue Saint Honoré 75001 Paris fr

colette will accept returns shipped within 14 days after receiving your order. Products must be returned in their original condition and packaging, along with a copy of the invoice, to the following address:
colette Eshop, 203 rue Saint Honoré, 75001 Paris en

Pour plus d’informations
Further information

Vous pouvez nous appeler au 01 42 86 95 90 ou contactez-nous par email à eshop@colette.fr fr

You can call us at +33 1 42 86 95 90 or contact us by email at eshop@colette.fr en

Crédits
Credits

Caperino & Peperone :

A Xmas Fail
A minifilm by Kuntzel + Deygas starring Cap & Pep.
Produced by Add A Dog, Paris.
Hand made animations by Agnès Fauve.
CG animations by Patrick Daher.
Modeling by Gregory Thomas.
Rendering and compositing by Pierre Chomarat.
Editing by David Haddad.
Musics:The Kiddies Christmas Frolic (Columbia Orchestra, 1919) Hawaiian Hula Melody (Johnny Nobles, 1920).

Portraits for « Colette Mon Amour » documentary (September 2018)

Directed by: Hugues Lawson-Body
Produced by: Eliane Lawson-Body & Hugues Lawson-Body
Production company: HLB
Sound engineer: Yann Majerowicz
Directors of photography: Stella Libert & Charlie Lenormand
Camerawoman: Amandine Nolin
Edited by: Guillaume Roche, Claudia Samaha
Mix engineer: Samuel Charles
Colourist: Felix Oziel
Translated by: David Nichols
Assistant director: Roxanne Decremer

© 1997 - 2017 colette - All Rights Reserved   |   Site by Colorz

Love you guys❤️

HamsonW.

So sad!!!!!!!!!

Veit

Amazing store! There wasn’t no one like it in the world.

Carlos Caru

Une galerie d'art palpable aux porte ouvertes. Merci!

Julian

Merci Colette.

Safe

Bonjour colette J'ai vu ouvrir votre boutique il y a 20 ans, j'y allais de temps en temps, je travaillais au 211 rue st Honoré juste à côté de vous, c'était toujours un plaisir, un voyage, une évasion

charlotte appelmans

BEST SHOP 4 EVER

Matteo

Colette lascia il segno, tra lusso e affezione

claudia @clopuntoa

Colette m'a appris ce qu'était le bon goût. Merci pour tout <3

Drapsaa @drapsaa

I always loved you and always I will love you! Biggest Retail Loss in my life

Sebastian Paul

Never had the chance to visit...

CATHERINE

Ljudi zar je to moguće?

Gabi

I haven’t been to Paris in a few years. I just learned that you closed Colette. It was my favorite place. I’m heartbroken.

@jamesmielke

I and heartbroken you are gone. Your music was so wonderful. Sending you a flower from San Francisco.

Elise Papazian
CADEAU DE SÉPARATION | colette
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colette a fermé ses portes

colette closed on

le 20 décembre 2017.

December 20th, 2017

  • colette Team
    colette Team
  • Kevin Lyons
    Kevin Lyons
  • Sébastien Jondeau
    Sébastien Jondeau
  • Maxim
    Maxim
  • Pharrell Williams
    Pharrell Williams
  • Emilie
    Emilie
  • Clément Vaché
    Clément Vaché
  • Futura
    Futura
  • Amikist
    Amikist
  • Cyriel
    Cyriel
  • Guillaume Salmon
    Guillaume Salmon
  • Peter Boesch
    Peter Boesch
  • Craig Redman
    Craig Redman
  • Caroline de Maigret
    Caroline de Maigret
  • Amy Verner
    Amy Verner
  • Pedro Winter
    Pedro Winter
  • Henrik Most
    Henrik Most
  • Alireza Niroomand
    Alireza Niroomand
  • Betina
    Betina
  • Loic Prigent
    Loic Prigent
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Nadège Winter
    Nadège Winter
  • Luca
    Luca
  • Caperino et Peperone
    Caperino et Peperone
  • colette Team
    colette Team
  • Craig Redman
    Craig Redman
  • Kevin Lyons
    Kevin Lyons
  • Caroline de Maigret
    Caroline de Maigret
  • Sébastien Jondeau
    Sébastien Jondeau
  • Amy Verner
    Amy Verner
  • Maxim
    Maxim
  • Pedro Winter
    Pedro Winter
  • Pharrell Williams
    Pharrell Williams
  • Henrik Most
    Henrik Most
  • Emilie
    Emilie
  • Alireza Niroomand
    Alireza Niroomand
  • Clément Vaché
    Clément Vaché
  • Betina
    Betina
  • Futura
    Futura
  • Loic Prigent
    Loic Prigent
  • Amikist
    Amikist
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Cyriel
    Cyriel
  • Nadège Winter
    Nadège Winter
  • Guillaume Salmon
    Guillaume Salmon
  • Luca
    Luca
  • Peter Boesch
    Peter Boesch
  • Caperino et Peperone
    Caperino et Peperone

Les commandes « Click & Collect » (retrait chez colette) seront honorées jusqu’au 15 janvier 2018. Vous pourrez les retirer au 203 rue Saint Honoré 75001 Paris, fond de cour, du lundi au vendredi, 10h-18h, muni d’une copie de la facture imprimée et de votre pièce d’identité.fr

The « Click & Collect » orders will be available until January 15th. You can pick them up at 203 rue Saint Honoré 75001 Paris, Back of the courtyard, Monday to Friday 10AM - 6PM, along with a copy of the invoice and your ID.en

colette accepte les retours expédiés sous 14 jours après réception de votre commande. Les produits doivent être retournés dans leur état et emballage d’origine, accompagnés d’une copie de la facture, à l’adresse suivante :
colette Eshop, 203 rue Saint Honoré 75001 Paris fr

colette will accept returns shipped within 14 days after receiving your order. Products must be returned in their original condition and packaging, along with a copy of the invoice, to the following address:
colette Eshop, 203 rue Saint Honoré, 75001 Paris en

Pour plus d’informations
Further information

Vous pouvez nous appeler au 01 42 86 95 90 ou contactez-nous par email à eshop@colette.fr fr

You can call us at +33 1 42 86 95 90 or contact us by email at eshop@colette.fr en

Crédits
Credits

Caperino & Peperone :

A Xmas Fail
A minifilm by Kuntzel + Deygas starring Cap & Pep.
Produced by Add A Dog, Paris.
Hand made animations by Agnès Fauve.
CG animations by Patrick Daher.
Modeling by Gregory Thomas.
Rendering and compositing by Pierre Chomarat.
Editing by David Haddad.
Musics:The Kiddies Christmas Frolic (Columbia Orchestra, 1919) Hawaiian Hula Melody (Johnny Nobles, 1920).

Portraits for « Colette Mon Amour » documentary (September 2018)

Directed by: Hugues Lawson-Body
Produced by: Eliane Lawson-Body & Hugues Lawson-Body
Production company: HLB
Sound engineer: Yann Majerowicz
Directors of photography: Stella Libert & Charlie Lenormand
Camerawoman: Amandine Nolin
Edited by: Guillaume Roche, Claudia Samaha
Mix engineer: Samuel Charles
Colourist: Felix Oziel
Translated by: David Nichols
Assistant director: Roxanne Decremer

© 1997 - 2017 colette - All Rights Reserved   |   Site by Colorz

Love you guys❤️

HamsonW.

So sad!!!!!!!!!

Veit

Amazing store! There wasn’t no one like it in the world.

Carlos Caru

Une galerie d'art palpable aux porte ouvertes. Merci!

Julian

Merci Colette.

Safe

Bonjour colette J'ai vu ouvrir votre boutique il y a 20 ans, j'y allais de temps en temps, je travaillais au 211 rue st Honoré juste à côté de vous, c'était toujours un plaisir, un voyage, une évasion

charlotte appelmans

BEST SHOP 4 EVER

Matteo

Colette lascia il segno, tra lusso e affezione

claudia @clopuntoa

Colette m'a appris ce qu'était le bon goût. Merci pour tout <3

Drapsaa @drapsaa

I always loved you and always I will love you! Biggest Retail Loss in my life

Sebastian Paul

Never had the chance to visit...

CATHERINE

Ljudi zar je to moguće?

Gabi

I haven’t been to Paris in a few years. I just learned that you closed Colette. It was my favorite place. I’m heartbroken.

@jamesmielke

I and heartbroken you are gone. Your music was so wonderful. Sending you a flower from San Francisco.

Elise Papazian

CADEAU DE SÉPARATION

TINTIN TÔRNCRANTZ

colette.man_ray.milles.cadeau

Man Ray, Cadeau, 1921. © Man Ray Trust. Courtesy Roland Penrose Estate, 2013. The Penrose Collection.

The streets are full of admirable craftsmen, but so few practical dreamers.

– Man Ray

“How can anyone hope to order the chaos which constitutes that infinite, formless variation – man?” asked Dada frontman Tristan Tzara in 1918.

Someone who did, and who thrived with Dada and Surrealism, was the practical dreamer Man Ray (1890–1976). The aloofness of Man Ray was the aloofness of Jordan Baker in The Great Gatsby (1925), as described by F Scott Fitzgerald: “There was a jauntiness about her movements as if she had first learned to walk on golf courses on crisp mornings.” The vitality and the inspirational strangeness of his multifaceted art works – which (as he put it himself) were “designed to amuse, bewilder, annoy, or to inspire reflection” – came from his intense interest in turning most of life’s bubbles into his own plastic poems.

“Merde la merde la merde … dada cannot live in New York,” Man Ray wrote to Tzara in early 1921 (with the little French he knew). And since it was in his character to make sure that the things he did were the things he always wanted to do, Man Ray boarded the SS Savoie for Paris in July that year. It was his move to the age of light and years of artistic ferment, till the Nazis arrived in 1940. Marcel Duchamp was waiting for him at the Gare Saint-Lazare.

Duchamp, his French friend and chess (and tennis) partner from their Dada days in New York, rushed him to a residential hotel in the 16th, and then to the sequestered Café Certa. It was either here – in the otherworldly Passage de l’Opera arcade – or in Francis Picabia’s home, that the exclusive coterie of the Paris Dada group used to congregate. They befriended Man Ray as their equal.

Tristan Tzara wrote that, “There is one kind of literature which never reaches the voracious masses. The work of creative writers, written out of the author’s real necessity, and for his benefit.” Man Ray’s art was like that. The first piece he created in Paris was the iconic Cadeau (Gift, 1921), which happened during the opening of his first exhibition in the city when Man Ray sneaked out of Librairie Six (the bookstore that was run by Mick Soupault, wife of Philippe Soupault who would become one of the founders of Surrealism) together with Erik Satie for a drink – and returned with an iron, fourteen carpet tacks and glue, and morphed it into an altogether marvellous work of art.

Cadeau has the face of the eerie Jaws poster of 1975, with the “dentals” set in a vertical orderly line. Man Ray claims in his autobiography Self-Portrait (1963) that the idea was to draw lots amongst his many friends so that one of them would leave the bookstore with the belligerent new gift. He also claims it was stolen that same afternoon, though there are pictures to prove that he photographed it afterwards. (Many of these legendary original objects only exist in photographs, and were later multiplied in several editions over time.) It is interesting that Man Ray based this work on an iron because as much as he tried to erase his family background, he likewise admitted the “sweatshop” themes and its staples into his work.

The artist and art collector Roland Penrose (who married Lee Miller after the war) said of Man Ray that, “No one has ever managed to elicit from him the history of his family, which he affirms is long forgotten and better so, since it could only be a cause of embarrassment.” Man Ray introduced himself to the Parisians that summer with a bogus biographical presentation written by Tzara: “It is no longer known where Man Ray was born. After a career as a coal merchant, millionaire several times over and chairman of a chewing gum trust, he has decided to accept the invitation of the Dadaists to show his latest canvas in Paris.”

Emmanuel “Manny” Radnitzky became Man Ray in the spring of 1912 when he was studying art in New York. The Radnitzkys lived in Brooklyn for a shorter period when Manny was seven, but moved back to Philadelphia for the father to resume his tailoring work both at home and in a factory. (The only person in the family that the boy could possibly to relate to was the youngest of the four siblings, Elsie.)

Man Ray took classes at different art schools in New York from 1908 and onwards. By far the most influential of them was the imaginative and anarchic Ferrer Center in Harlem, which he enrolled in the fall of 1912. Robert Henri was one of the great teachers there and he encouraged his students to work very fast and unconventionally. Man Ray described him in one sentence: “He was against what most people were for, and for what most people were against.” It was perfect.

Alfred Steiglitz fathered Man Ray as an artist (and he also paid most of his lunches). Stieglitz, the instrumental photographer who established both the Camera Work publication and the world-renowned 291 Gallery on Fifth Avenue, introduced him to the finest European Modernists. In 1913, Man Ray saw the Armory Show (the International Exhibition of Modern Art) in New York, moved to a small place in New Jersey and began to woo the Belgian poet Adon Lacroix who had just divorced Adolf Wolff, Man Ray’s admired teacher from the Ferrer Center.

“He drew her, or drew ‘from’ her, obsessively, creating conversations in his journal that he would like to have with her,” tells Patrick Bade in his Man Ray biography. Man Ray was so devastated when she walked out of their short-lived marriage in 1919 that he filled his chamber with dress forms. He later revealed that, “they seemed to furnish the place with a substitute for human company”. Man Ray anthropomorphised objects all the time, acknowledged them as erotic beings. And the sectarian Surrealist leader was on his knees before his art – André Breton:

All that, which at the most perfect hour the most perfect street in the world cannot give, is called upon to precipitate here, beyond every obstacle, its luminous career.

Before he relocated to Paris, Man Ray joined in with Katherine Dreier and Marcel Duchamp to establish the enlightened Société Anonyme in 1920. The idea was to foster the radical art forms that were coming to America, and equally to bring an understanding to the general public. Man Ray and Duchamp also published a one-issue magazine called New York Dada.

In Man Ray: Photographs from the Paul Getty Museum, Katherine Ware addresses an early photograph from 1920: “In Woman Smoking a Cigarette Man Ray moves beyond photography as documentation to employ it as a means of creative expression. This tiny print was carefully mounted, signed, and dated by the artist, indicating that he considered it a completed work of art.”

Man Ray called photography “a marvellous explorer of those aspects that our retina never records”. But when he started to use a camera it was just to make a photographic record of every painting or object that came out of his studio. His capricious Self Portrait of 1916 was an assemblage with two breast-like doorbells at the top and a navel-like push button on a canvas painted like a door entrance, or gravestone, with a centred gory print mark of the artist’s hand and two f-holes on the sides. There was nobody home at the Daniel Gallery in New York when the visitors pushed the belly button. The work today persists as gelatine silver prints of the photograph that Man Ray took of it, and as a flat silkscreen that the artist mounted on a Plexiglas board in 1970.

The silkscreen piece is called Autoportrait in the quite impressive Man Ray exhibition at Millesgården, with its spectacular premises on the Lidingö island in Stockholm. This is an offbeat but likewise upbeat presentation of his works, segmented by the cities they were made in: New York, Paris and Hollywood (and then back to Paris again, with the Nazis out of the way). Letters, notebooks and private photographs help to bridge the “regular” artworks in the exhibition – and certainly, where the art begins or ends is never a fixture in Man Ray’s incongruous adventures. There is a page from one of his personal journals on which he has drawn an almost dead face of a woman and scribbled “Elizabeth” all over it as if an act of exorcism. Man Ray was on the verge of suicide when he did it. It was executed right after Lee Miller left him in 1932.

The first work in the show is hanging from the ceiling by the entrance. Obstruction is a mobile of multiplying coat hangers that filled the whole studio when it was created in 1920 (and rediscovered in 1947). Man Ray said that, “It would have been amusing to keep the game going and obstruct the whole universe.” Just like the turtles that hold up the world.

In Paris, Man Ray was quick to learn French and installed himself in a flexible two-floor atelier in the sumptuous building at 31 bis rue Campagne Première in Montparnasse (with Duchamp as his next-door neighbour at the Hotel Istria). Kiki de Montparnasse was Man Ray’s official femme of the 1920s – a model, nightclub singer and a self-made flapper who very much embodied what the British architectural historian Mark Girouard said about the people in this city: “Parisians treated life as a spectacle […] and intensely enjoyed their own and everyone else’s performance.” Man Ray photographed her, she acted in his films; she was joy and trouble.

Talking about his early thoughts on art in his autobiography of 1963, Man Ray recalled that “There was no progress in art, as there was in science – one could not do better than the old masters, one could only do different.” Man Ray loved the power, the poetry and the “nothing is greater than anything else”-attitude that he received from the Dadaists and their movement that had looped out of the full insanity of WWI. But at the time when Marsden Hartley ended his “The Importance of Being Dada” essay in 1921 with the words: “We shall learn through Dadaism that art is a witty and entertaining pastime”, Paris Dada was falling apart as a warring phalanx engaged in all kinds of quarrels. Humour was not Breton’s long suit. In the words of Francis Picabia, “Dada galloped off in a cloud of dust. Little urchins jump on its back, stroke the animal, give it sugar, put blinders on it, pull its bridle to the right. Poor wild Dada … Dada is dead.”

“I have freed myself from the sticky medium of paint and am working directly with light itself,” wrote Man Ray in April 1922 in a letter to an Ohio art collector who had sponsored his move to Paris. Part of his early photography was commercial portraiture, for the money. But he also wisely acquainted a bundle of artists and creators in the city to photograph their works and to ask them for a sitting (Jean Cocteau was one of his first subjects). Modernism created the individual in a new way. Many of these portraits have a distinctive breath of excitement and the warm thrill of confusion, and Man Ray’s photography just got better and better with the sinister distortions of Surrealism.

As Kim Knowles argues in A Cinematic Artist: The Films of Man Ray, “Cinema played an unquestionable role in the development of Man Ray’s visual ideas, allowing the qualities of the medium to feed into another.” He once signed a letter “Man Ray, directeur du mauvais movies”. Three of these “bad” movies – all starring Kiki de Montparnasse – are projected at Millesgården: Le retour à la raison (1923), Emak-Bakia (1926) and L’étoile de mer (1928).

Return to Reason is a three-minute picture postcard to the Dadaists – “the only ones capable of appreciating such nonchalance” – and they loved it, and they were not alone. Emak-Bakia (which means “leave me alone” in Basque) was presented as a cinépoéme, shot and edited like a dancing flapper and guided by its deformed and mirrored reversible sequences. At the end of the film, someone is entering the building on rue Campagne Première and dismembers a box of white collars – ultimately, they are impossible to destroy. “It is as if Man Ray were telling himself, and us, that the past is like a never-ending nightmare from which one cannot possibly sever oneself,” suggests Milly Heyd in Complex Identities: Jewish Consciousness and Modern Art.

Et si tu trouves sur cette terre une femme à l’amour sincere (And if you find on this earth a woman whose love is true) – this is from a card in The Sea Star, Man Ray’s film about despairing love and his first Surrealist work on celluloid. “Not trusting his own understanding of Surrealism, he had Robert Desnos, the foremost Surrealist dreamer and visionary, write him a rather detailed script entitled ‘Étoile de mer – Poème de Robert Desnos – Tel que l’a vu Man Ray’, whose thirty-three numbered sequences Man Ray very closely followed,” writes Rudolf Kuenzli in Avant-Garde Film. “Desnos script is probably related to his frustrated love for the Belgian blonde cabaret singer Yvonne George, for whom Desnos did everything, including procuring drugs, but who only tortured him by never letting him come close to her.”

Lucie (Youki) Badoul, who married Desnos in 1931, explained in her memoirs Les confidences de Youki (1957) that “Robert loved Yvonne George in an almost supra-terrestrial manner. For him she wasn’t a woman but an immaterial creature, which is why he sublimated her into the star.”

The exhibition is replete with images, traces, incantations of Man Ray’s own sublimated étoile – and she is one of the most unforgettable faces in art: Lee Miller. Miller left for Europe in the spring of 1929 after a tasteful picture of her in a ball gown taken by Edward Steichen had been used in an advertisement for menstrual pads. And that was all it took to dash her flourishing modelling career in the US. “Touring the art galleries of Rome and Florence convinced Lee that every painting that could be painted had been painted. She found the process of painting tedious and lonely compared to the immediate and exciting experience of photography. Steichen had given her an introduction to Man Ray, so she headed for Paris, reasoning that the star of modern photography would be her best possible teacher,” writes her son Antony Penrose in The Home of the Surrealists: Lee Miller, Roland Penrose and Their Circle at Farley Farm.

The concierge told her that Man Ray was off for his holidays. But when she sat down at a neighbouring café for an apéritif, she suddenly spotted him across the street and insisted to follow him wherever he was going. They travelled to Biarritz that day, and spent the next three years together in a wild romance. There are two photographs from around 1930 with his frothy Aphrodite – bare-breasted, what else? – playing with a bubble pipe. Man Ray objectified the theme in 1935 when he put a glass bubble on top of a clay pipe and named it Ce qui manque à nous tous (What we all lack). He also decorated the curly hair of his crying mannequin at L’exposition internationale du surréalisme in 1938 with two of these bubble blowers. The clay pipe was a very common object in the vanitas still life paintings in the 16th and 17th centuries, a reminder of the fragility of life. Miller was gone.

Object to be Destroyed/Indestructible Object exists as a couple of hundred authorised multiples. The first piece (1922–23) of the eyed metronome was pre-Miller. Man Ray: “I had a metronome in my place which I set going when I painted – like the pianist sets it going when he starts playing – its ticking noise regulated the frequency and number of my brushstrokes. The faster it went, the faster I painted, and if the metronome stopped then I knew I had painted too long. I was repeating myself, my painting was no good and I would destroy it. A painter needs an audience so I also clipped a photo of an eye to the metronome’s swinging arm to create the illusion of being watched as I painted. One day I did not accept the metronome’s verdict, the silence was unbearable and since I had called it, with a certain premonition, Object of Destruction, I smashed it to pieces.”

In 1933, Man Ray cut out an eye from a photograph of Lee Miller and attached it to another metronome. This, the second version of the work was lost when he had to leave Paris at the beginning of the war. The third version (1945) was shot to bits after being stolen from a Paris gallery in 1957 by a group of art students. It is the fourth version of 1959 that is displayed at Millesgården. Another piece in the show is the virile Presse-papier à Priape, made a year after Kubrick’s A Clockwork Orange (1971). Think of the libidinous Cat Lady and her “Rocking Machine”.

One of the photographic techniques so closely associated with Man Ray is the camera-less rayograph – a photogram where objects are arranged on photographic paper and quickly exposed to light. Tristan Tzara was so delighted that he collected twelve of these rayographs in a portfolio called Les champs délicieux (The delicious fields) and had it published in December 1922. Miller was as a matter of fact responsible for Man Ray’s most popular technique, solarisation, and he absolutely mastered this art of reversing the values of black and white to perfection.

According to Miller’s son, this halo-like outcome was discovered one day in the darkroom when “A rat ran over her feet, she snapped on the white light – and in doing so gave the plates in the developer a second exposure. In an attempt to salvage them, Man Ray put the plates in a fixing solution, and was astonished to discover the resulting effect.”

It is always expressed that Lee Miller was the only woman that Man Ray could not “control”, which is quite an ignorant and demeaning thing to say about the latter. It is hardly a secret that there was a lot of shagging going on in those days, and Miller’s principle was that “If I need to pee, I pee in the road; if I have a letch for someone, I hop into bed with him.” (“I can’t be depended on for anything,” she wrote to one of those bedfellows. “In fact, I have every intention of being completely irresponsible.”) Lee was raped as a child. The abuser, a so-called friend of the family, infected her with a venereal disease, for which the seven year old had to go through a large number of torturous treatments. Her incestuous father made sure to hush everything up.

All hell broke loose when an Egyptian Croesus and his wife (who was regarded as one of the most beautiful women in the world) came to Paris in 1932 to pose for both Lee Miller and Man Ray. This time Miller’s extraordinary libertine lifestyle and her trait to hurt anyone she pleased ended in chaos and heartbreak. Antony Penrose: “Man Ray spent the night after Lee’s departure standing in the rain beneath the dark windows of her former studio, weeping and calling her name. He remained grief-stricken for weeks, and then began painting a huge canvas.”

The painting in question floats around the world today in a luxury yacht where it does not belong. (The picture at Millesgården is a smaller lithography that Man Ray did in 1970.) Man Ray began to work on his formidable threnody À l’heure de l’observatoire – Les amoureux (or Observatory Time – The Lovers) from a photo of Miller’s lips and stretched them like an organ made of rubber, a cherry-red zeppelin of love lingering in the sky with its fluffs of menacing war clouds above the busty domes of the observatory. The lips are like two lovers forever entangled in a dream, Miller and Man Ray.

Millesgården exhibits one of Man Ray’s chess sets, a work from 1946, an intarsia board with minimalistic chess pieces made of anodized aluminium. “[Chess] for him was not merely the game of kings but the king of games,” writes Wendy Grossman in The Art of the Project: Projects and Experiments in Modern French Culture. “The use of chess symbolism and chess metaphor became the hallmark of Man Ray’s Modernist project, surfacing in a range of objects and images. Beginning in 1920, he designed and produced a variety of unorthodox chess sets, an experience that provided him, in his own words, with ‘a fertile field for invention’.”

Initially he figured that the war would not last very long, and he even covered the spring fashion shows in 1940 for the American magazines he worked for. But Man Ray too, with his Jewish heritage, was bound to flee with whatever he could carry in his hands when the Nazis took over Paris that summer. Man Ray arranged the formalities with his art dealer and the woman he had to leave behind, Adrienne Fidelin – he put them in control of his possessions, and left for New York and carried on to Los Angeles.

Lee Miller was his Yvonne George, but Juliet Browner became the love of Man Ray’s life. They met in Hollywood in 1940. He was happy to learn that she knew about his art, unlike most Americans who mostly associated Man Ray with fashion and celebrity images. Juliet took the name Juliet Man Ray when they married in 1946, together with the Surrealist couple Dorothea Tanning and Max Ernst. The marriages lasted for the rest of their lives, until Ernst and Man Ray both passed away in 1976.

Objects of my Affection is a true rarity in the exhibition, a handmade encyclopaedia compiled in 1944 of vintage photographs and handwritten comments by Man Ray about his works. His seductive drawings La couture (1936) and Belle main (1937) have the dreamy/nightmarish allure of Max Ernst’s graphic novel Une semaine de bonté from 1934, and even more so his phenomenal collage Beautiful as a chance meeting of a sewing machine and an umbrella on a dissecting table that Man Ray made in 1932–33. The title was a quote from Comte de Lautréamont’s poetic novel Les Chants de Maldoror: “Beau comme la rencontre fortuite d’un parapluie et d’une machine à coudre sur une table de dissection.”

The Man Rays moved to Paris in 1951 and settled down on the narrow little rue Férou at the Jardin du Luxembourg. Here Man Ray quietly relived the old days and continued with his work. At the end of his life he made the Consoler for Lee Miller (If She Needs One), a cigar box as a love letter with a peephole and a surprise. The following year, on March 14, 1975, he wrote her a letter: “I am pinned down in my little retreat – I cannot walk and my doctor seems to try out all the pills on the market – to which I am completely allergic, but not to my loves – like you – I mean. I love you.”

Marcel Duchamp saw in his friend an artist “at the service of the mind”. Man Ray explained his artistic goal in an exhibition catalogue in 1945: “The experiment lies with the spectator in his willingness to accept what his eye conveys to him. The success of the experiment is in proportion to the desire to discover and enjoy.” Man Ray’s ten Revolving Doors at Millesgården look as fresh today as they probably looked in 1926 when he created these highly dynamic, vivid pochoir prints.

Aldous Huxley swallowed mescaline in order to break through the “threshold” when he worked on his Doors of Perception (1954). Man Ray just looked at the doors. For he knew what the poet Paul Éluard knew:

There is another world, and it is in this one.

Man Ray: New York – Paris – Hollywood at Millesgården in Stockholm through June 8, 2014.

FIN

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colette a fermé ses portes

colette closed on

le 20 décembre 2017.

December 20th, 2017

  • colette Team
    colette Team
  • Kevin Lyons
    Kevin Lyons
  • Sébastien Jondeau
    Sébastien Jondeau
  • Maxim
    Maxim
  • Pharrell Williams
    Pharrell Williams
  • Emilie
    Emilie
  • Clément Vaché
    Clément Vaché
  • Futura
    Futura
  • Amikist
    Amikist
  • Cyriel
    Cyriel
  • Guillaume Salmon
    Guillaume Salmon
  • Peter Boesch
    Peter Boesch
  • Craig Redman
    Craig Redman
  • Caroline de Maigret
    Caroline de Maigret
  • Amy Verner
    Amy Verner
  • Pedro Winter
    Pedro Winter
  • Henrik Most
    Henrik Most
  • Alireza Niroomand
    Alireza Niroomand
  • Betina
    Betina
  • Loic Prigent
    Loic Prigent
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Nadège Winter
    Nadège Winter
  • Luca
    Luca
  • Caperino et Peperone
    Caperino et Peperone
  • colette Team
    colette Team
  • Craig Redman
    Craig Redman
  • Kevin Lyons
    Kevin Lyons
  • Caroline de Maigret
    Caroline de Maigret
  • Sébastien Jondeau
    Sébastien Jondeau
  • Amy Verner
    Amy Verner
  • Maxim
    Maxim
  • Pedro Winter
    Pedro Winter
  • Pharrell Williams
    Pharrell Williams
  • Henrik Most
    Henrik Most
  • Emilie
    Emilie
  • Alireza Niroomand
    Alireza Niroomand
  • Clément Vaché
    Clément Vaché
  • Betina
    Betina
  • Futura
    Futura
  • Loic Prigent
    Loic Prigent
  • Amikist
    Amikist
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Cyriel
    Cyriel
  • Nadège Winter
    Nadège Winter
  • Guillaume Salmon
    Guillaume Salmon
  • Luca
    Luca
  • Peter Boesch
    Peter Boesch
  • Caperino et Peperone
    Caperino et Peperone

Les commandes « Click & Collect » (retrait chez colette) seront honorées jusqu’au 15 janvier 2018. Vous pourrez les retirer au 203 rue Saint Honoré 75001 Paris, fond de cour, du lundi au vendredi, 10h-18h, muni d’une copie de la facture imprimée et de votre pièce d’identité.fr

The « Click & Collect » orders will be available until January 15th. You can pick them up at 203 rue Saint Honoré 75001 Paris, Back of the courtyard, Monday to Friday 10AM - 6PM, along with a copy of the invoice and your ID.en

colette accepte les retours expédiés sous 14 jours après réception de votre commande. Les produits doivent être retournés dans leur état et emballage d’origine, accompagnés d’une copie de la facture, à l’adresse suivante :
colette Eshop, 203 rue Saint Honoré 75001 Paris fr

colette will accept returns shipped within 14 days after receiving your order. Products must be returned in their original condition and packaging, along with a copy of the invoice, to the following address:
colette Eshop, 203 rue Saint Honoré, 75001 Paris en

Pour plus d’informations
Further information

Vous pouvez nous appeler au 01 42 86 95 90 ou contactez-nous par email à eshop@colette.fr fr

You can call us at +33 1 42 86 95 90 or contact us by email at eshop@colette.fr en

Crédits
Credits

Caperino & Peperone :

A Xmas Fail
A minifilm by Kuntzel + Deygas starring Cap & Pep.
Produced by Add A Dog, Paris.
Hand made animations by Agnès Fauve.
CG animations by Patrick Daher.
Modeling by Gregory Thomas.
Rendering and compositing by Pierre Chomarat.
Editing by David Haddad.
Musics:The Kiddies Christmas Frolic (Columbia Orchestra, 1919) Hawaiian Hula Melody (Johnny Nobles, 1920).

Portraits for « Colette Mon Amour » documentary (September 2018)

Directed by: Hugues Lawson-Body
Produced by: Eliane Lawson-Body & Hugues Lawson-Body
Production company: HLB
Sound engineer: Yann Majerowicz
Directors of photography: Stella Libert & Charlie Lenormand
Camerawoman: Amandine Nolin
Edited by: Guillaume Roche, Claudia Samaha
Mix engineer: Samuel Charles
Colourist: Felix Oziel
Translated by: David Nichols
Assistant director: Roxanne Decremer

© 1997 - 2017 colette - All Rights Reserved   |   Site by Colorz

Love you guys❤️

HamsonW.

So sad!!!!!!!!!

Veit

Amazing store! There wasn’t no one like it in the world.

Carlos Caru

Une galerie d'art palpable aux porte ouvertes. Merci!

Julian

Merci Colette.

Safe

Bonjour colette J'ai vu ouvrir votre boutique il y a 20 ans, j'y allais de temps en temps, je travaillais au 211 rue st Honoré juste à côté de vous, c'était toujours un plaisir, un voyage, une évasion

charlotte appelmans

BEST SHOP 4 EVER

Matteo

Colette lascia il segno, tra lusso e affezione

claudia @clopuntoa

Colette m'a appris ce qu'était le bon goût. Merci pour tout <3

Drapsaa @drapsaa

I always loved you and always I will love you! Biggest Retail Loss in my life

Sebastian Paul

Never had the chance to visit...

CATHERINE

Ljudi zar je to moguće?

Gabi

I haven’t been to Paris in a few years. I just learned that you closed Colette. It was my favorite place. I’m heartbroken.

@jamesmielke

I and heartbroken you are gone. Your music was so wonderful. Sending you a flower from San Francisco.

Elise Papazian
colette Forever Pinterest Twitter Youtube Facebook Instagram Location Close Search

colette a fermé ses portes

colette closed on

le 20 décembre 2017.

December 20th, 2017

  • colette Team
    colette Team
  • Kevin Lyons
    Kevin Lyons
  • Sébastien Jondeau
    Sébastien Jondeau
  • Maxim
    Maxim
  • Pharrell Williams
    Pharrell Williams
  • Emilie
    Emilie
  • Clément Vaché
    Clément Vaché
  • Futura
    Futura
  • Amikist
    Amikist
  • Cyriel
    Cyriel
  • Guillaume Salmon
    Guillaume Salmon
  • Peter Boesch
    Peter Boesch
  • Craig Redman
    Craig Redman
  • Caroline de Maigret
    Caroline de Maigret
  • Amy Verner
    Amy Verner
  • Pedro Winter
    Pedro Winter
  • Henrik Most
    Henrik Most
  • Alireza Niroomand
    Alireza Niroomand
  • Betina
    Betina
  • Loic Prigent
    Loic Prigent
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Nadège Winter
    Nadège Winter
  • Luca
    Luca
  • Caperino et Peperone
    Caperino et Peperone
  • colette Team
    colette Team
  • Craig Redman
    Craig Redman
  • Kevin Lyons
    Kevin Lyons
  • Caroline de Maigret
    Caroline de Maigret
  • Sébastien Jondeau
    Sébastien Jondeau
  • Amy Verner
    Amy Verner
  • Maxim
    Maxim
  • Pedro Winter
    Pedro Winter
  • Pharrell Williams
    Pharrell Williams
  • Henrik Most
    Henrik Most
  • Emilie
    Emilie
  • Alireza Niroomand
    Alireza Niroomand
  • Clément Vaché
    Clément Vaché
  • Betina
    Betina
  • Futura
    Futura
  • Loic Prigent
    Loic Prigent
  • Amikist
    Amikist
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Cyriel
    Cyriel
  • Nadège Winter
    Nadège Winter
  • Guillaume Salmon
    Guillaume Salmon
  • Luca
    Luca
  • Peter Boesch
    Peter Boesch
  • Caperino et Peperone
    Caperino et Peperone

Les commandes « Click & Collect » (retrait chez colette) seront honorées jusqu’au 15 janvier 2018. Vous pourrez les retirer au 203 rue Saint Honoré 75001 Paris, fond de cour, du lundi au vendredi, 10h-18h, muni d’une copie de la facture imprimée et de votre pièce d’identité.fr

The « Click & Collect » orders will be available until January 15th. You can pick them up at 203 rue Saint Honoré 75001 Paris, Back of the courtyard, Monday to Friday 10AM - 6PM, along with a copy of the invoice and your ID.en

colette accepte les retours expédiés sous 14 jours après réception de votre commande. Les produits doivent être retournés dans leur état et emballage d’origine, accompagnés d’une copie de la facture, à l’adresse suivante :
colette Eshop, 203 rue Saint Honoré 75001 Paris fr

colette will accept returns shipped within 14 days after receiving your order. Products must be returned in their original condition and packaging, along with a copy of the invoice, to the following address:
colette Eshop, 203 rue Saint Honoré, 75001 Paris en

Pour plus d’informations
Further information

Vous pouvez nous appeler au 01 42 86 95 90 ou contactez-nous par email à eshop@colette.fr fr

You can call us at +33 1 42 86 95 90 or contact us by email at eshop@colette.fr en

Crédits
Credits

Caperino & Peperone :

A Xmas Fail
A minifilm by Kuntzel + Deygas starring Cap & Pep.
Produced by Add A Dog, Paris.
Hand made animations by Agnès Fauve.
CG animations by Patrick Daher.
Modeling by Gregory Thomas.
Rendering and compositing by Pierre Chomarat.
Editing by David Haddad.
Musics:The Kiddies Christmas Frolic (Columbia Orchestra, 1919) Hawaiian Hula Melody (Johnny Nobles, 1920).

Portraits for « Colette Mon Amour » documentary (September 2018)

Directed by: Hugues Lawson-Body
Produced by: Eliane Lawson-Body & Hugues Lawson-Body
Production company: HLB
Sound engineer: Yann Majerowicz
Directors of photography: Stella Libert & Charlie Lenormand
Camerawoman: Amandine Nolin
Edited by: Guillaume Roche, Claudia Samaha
Mix engineer: Samuel Charles
Colourist: Felix Oziel
Translated by: David Nichols
Assistant director: Roxanne Decremer

© 1997 - 2017 colette - All Rights Reserved   |   Site by Colorz

Love you guys❤️

HamsonW.

So sad!!!!!!!!!

Veit

Amazing store! There wasn’t no one like it in the world.

Carlos Caru

Une galerie d'art palpable aux porte ouvertes. Merci!

Julian

Merci Colette.

Safe

Bonjour colette J'ai vu ouvrir votre boutique il y a 20 ans, j'y allais de temps en temps, je travaillais au 211 rue st Honoré juste à côté de vous, c'était toujours un plaisir, un voyage, une évasion

charlotte appelmans

BEST SHOP 4 EVER

Matteo

Colette lascia il segno, tra lusso e affezione

claudia @clopuntoa

Colette m'a appris ce qu'était le bon goût. Merci pour tout <3

Drapsaa @drapsaa

I always loved you and always I will love you! Biggest Retail Loss in my life

Sebastian Paul

Never had the chance to visit...

CATHERINE

Ljudi zar je to moguće?

Gabi

I haven’t been to Paris in a few years. I just learned that you closed Colette. It was my favorite place. I’m heartbroken.

@jamesmielke

I and heartbroken you are gone. Your music was so wonderful. Sending you a flower from San Francisco.

Elise Papazian
colette Forever Pinterest Twitter Youtube Facebook Instagram Location Close Search

colette a fermé ses portes

colette closed on

le 20 décembre 2017.

December 20th, 2017

  • colette Team
    colette Team
  • Kevin Lyons
    Kevin Lyons
  • Sébastien Jondeau
    Sébastien Jondeau
  • Maxim
    Maxim
  • Pharrell Williams
    Pharrell Williams
  • Emilie
    Emilie
  • Clément Vaché
    Clément Vaché
  • Futura
    Futura
  • Amikist
    Amikist
  • Cyriel
    Cyriel
  • Guillaume Salmon
    Guillaume Salmon
  • Peter Boesch
    Peter Boesch
  • Craig Redman
    Craig Redman
  • Caroline de Maigret
    Caroline de Maigret
  • Amy Verner
    Amy Verner
  • Pedro Winter
    Pedro Winter
  • Henrik Most
    Henrik Most
  • Alireza Niroomand
    Alireza Niroomand
  • Betina
    Betina
  • Loic Prigent
    Loic Prigent
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Nadège Winter
    Nadège Winter
  • Luca
    Luca
  • Caperino et Peperone
    Caperino et Peperone
  • colette Team
    colette Team
  • Craig Redman
    Craig Redman
  • Kevin Lyons
    Kevin Lyons
  • Caroline de Maigret
    Caroline de Maigret
  • Sébastien Jondeau
    Sébastien Jondeau
  • Amy Verner
    Amy Verner
  • Maxim
    Maxim
  • Pedro Winter
    Pedro Winter
  • Pharrell Williams
    Pharrell Williams
  • Henrik Most
    Henrik Most
  • Emilie
    Emilie
  • Alireza Niroomand
    Alireza Niroomand
  • Clément Vaché
    Clément Vaché
  • Betina
    Betina
  • Futura
    Futura
  • Loic Prigent
    Loic Prigent
  • Amikist
    Amikist
  • Keith & Colette Yamashita
    Keith & Colette Yamashita
  • Cyriel
    Cyriel
  • Nadège Winter
    Nadège Winter
  • Guillaume Salmon
    Guillaume Salmon
  • Luca
    Luca
  • Peter Boesch
    Peter Boesch
  • Caperino et Peperone
    Caperino et Peperone

Les commandes « Click & Collect » (retrait chez colette) seront honorées jusqu’au 15 janvier 2018. Vous pourrez les retirer au 203 rue Saint Honoré 75001 Paris, fond de cour, du lundi au vendredi, 10h-18h, muni d’une copie de la facture imprimée et de votre pièce d’identité.fr

The « Click & Collect » orders will be available until January 15th. You can pick them up at 203 rue Saint Honoré 75001 Paris, Back of the courtyard, Monday to Friday 10AM - 6PM, along with a copy of the invoice and your ID.en

colette accepte les retours expédiés sous 14 jours après réception de votre commande. Les produits doivent être retournés dans leur état et emballage d’origine, accompagnés d’une copie de la facture, à l’adresse suivante :
colette Eshop, 203 rue Saint Honoré 75001 Paris fr

colette will accept returns shipped within 14 days after receiving your order. Products must be returned in their original condition and packaging, along with a copy of the invoice, to the following address:
colette Eshop, 203 rue Saint Honoré, 75001 Paris en

Pour plus d’informations
Further information

Vous pouvez nous appeler au 01 42 86 95 90 ou contactez-nous par email à eshop@colette.fr fr

You can call us at +33 1 42 86 95 90 or contact us by email at eshop@colette.fr en

Crédits
Credits

Caperino & Peperone :

A Xmas Fail
A minifilm by Kuntzel + Deygas starring Cap & Pep.
Produced by Add A Dog, Paris.
Hand made animations by Agnès Fauve.
CG animations by Patrick Daher.
Modeling by Gregory Thomas.
Rendering and compositing by Pierre Chomarat.
Editing by David Haddad.
Musics:The Kiddies Christmas Frolic (Columbia Orchestra, 1919) Hawaiian Hula Melody (Johnny Nobles, 1920).

Portraits for « Colette Mon Amour » documentary (September 2018)

Directed by: Hugues Lawson-Body
Produced by: Eliane Lawson-Body & Hugues Lawson-Body
Production company: HLB
Sound engineer: Yann Majerowicz
Directors of photography: Stella Libert & Charlie Lenormand
Camerawoman: Amandine Nolin
Edited by: Guillaume Roche, Claudia Samaha
Mix engineer: Samuel Charles
Colourist: Felix Oziel
Translated by: David Nichols
Assistant director: Roxanne Decremer

© 1997 - 2017 colette - All Rights Reserved   |   Site by Colorz

Love you guys❤️

HamsonW.

So sad!!!!!!!!!

Veit

Amazing store! There wasn’t no one like it in the world.

Carlos Caru

Une galerie d'art palpable aux porte ouvertes. Merci!

Julian

Merci Colette.

Safe

Bonjour colette J'ai vu ouvrir votre boutique il y a 20 ans, j'y allais de temps en temps, je travaillais au 211 rue st Honoré juste à côté de vous, c'était toujours un plaisir, un voyage, une évasion

charlotte appelmans

BEST SHOP 4 EVER

Matteo

Colette lascia il segno, tra lusso e affezione

claudia @clopuntoa

Colette m'a appris ce qu'était le bon goût. Merci pour tout <3

Drapsaa @drapsaa

I always loved you and always I will love you! Biggest Retail Loss in my life

Sebastian Paul

Never had the chance to visit...

CATHERINE

Ljudi zar je to moguće?

Gabi

I haven’t been to Paris in a few years. I just learned that you closed Colette. It was my favorite place. I’m heartbroken.

@jamesmielke

I and heartbroken you are gone. Your music was so wonderful. Sending you a flower from San Francisco.

Elise Papazian