Man Ray - Evening Editions New York Wednesday, October 26, 2011 | Phillips

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  • Literature

    Luciano Anselmino 15

  • Catalogue Essay

    I decided to paint the subject on a scale of superhuman proportions. I placed a canvas about eight feet long over my bed and every morning, before going to my office and studio, I worked on it for an hour or two standing on the bed in my pyjamas. If there had been a colour process enabling me to make a photograph of such dimensions and showing the lips floating over a landscape, I would certainly have preferred to do it that way. However rapidly I could paint, it was still drudgery after the instantaneous act of photography, I did not take into account the meticulous preparation such a photograph would require nor its subsequent printing, which was the mechanical side, whereas in painting from the beginning to the end, every stroke required a high pitch of tension and interest. I was somewhat out of practice. Be that as it may, after two years I finished the painting, working only when my enthusiasm renewed itself.

    The title was suggested by the American speaking clock of the 1930’s – one dialed to hear: United States Observatory time…eight forty-five (etc.). The observatory at the lower left of the painting is the one Man Ray saw every day as he strolled to his studio through the Jardins du Luxembourg. The second part of the title, The Lovers, is an invitation to see in this pair of cosmic lips a pair of lovers floating in the sky in blissful intercourse. Their ecstatic embrace defies time, space and gravity. They appear in an embodiment of Tantric philosophy, ‘a cult of ecstasy focused on a vision of cosmic sexuality.’ The title thus stresses the face that our time should be a time of love – an love assumes a universal dimension in this work, painted just at a time when the rising tide of hate was about to submerge Europe.
    Arturo Schwarz Man Ray - The Rigour of Imagination, Rizzoli, 1977, pp 60-1

    “The red lips floated in bluish gray sky over a twilit landscape with an observatory and its two domes like breasts dimly indicated on the horizon—an impression of my daily walks through the Luxembourg Gardens. The lips because of their scale, no doubt, suggested two closely joined bodies. Quite Freudian. I wrote the legend at the bottom of the canvas to anticipate subsequent interpretations: Observatory Time—The Lovers. Your mouth itself becomes two bodies separated by a long, undulating horizon. Like the earth and the sky, like you and me.”

Property from a European Collection

2

A l'heure de l'observatoire: Les amoureux (Observatory Time - The Lovers)

1970
Offset lithograph in colors, on wove paper, with full margins,
I. 13 7/8 x 35 3/8 in. (35.2 x 89.9 cm);
S. 26 3/4 x 40 7/8 in. (67.9 x 103.8 cm)

signed and numbered 131/150 in pencil, published by Jean Pitihory, Paris, a few faint creases, a few small touched-in spots in the lower center margin, otherwise in good condition, framed.

Estimate
$20,000 - 30,000 

Sold for $25,000

Evening Editions

26 October 2011
New York