signed with the initials and dated 52; signed, titled and dated 1952 on the reverse
Painting a face as in the present work instead of photographing it supports the apprehension that Man Ray was more interested in the intrinsic value of a work of art than in its pure representational side. In his own words, he always chose the medium which was “best suited to express that idea”, and in this case, painting proved for him more powerful than photography. Versatile and skilled in all the media he used, he explored the idea behind the work rather than its aesthetic perfection.
 Arturo Schwarz, Man Ray: The Rigour of Imagination, London, 1977
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