MAN RAY after, Emmanuel Radnitsky (Philadelphia (US) 1890 1976 Paris (FR)) - "Lots of 6 serigraphs on acrylic glass including 2 in color" c.1970. Serigraphs on plexiglass of which : "Aerograph" (c.1970) the artist's signature are engraved in the acrylic glass, 57,4x49,5cm; "Seguidilla" after a 1919 design, titled and dated in the subject, the mention H.C. and the artist's signature are engraved in the acrylic glass, 48x59,5cm; "The impossible" (1969) after a 1918 drawing ("Perpetual Motion") and a 1920 painting ("Danger"), the mention H.C. and the artist's signature are engraved in the acrylic glass, the plexiglass is mounted on a wood and fabric support, 66,5x43cm (depth with support: 3cm); "Portrait with handprint" (1966), after a drawing of 1916, the mention H.C. and the artist's signature are engraved in the acrylic glass, 50,8x37cm; "Untitled [Spider-woman]" (ca.1970) from a 1929 design, the artist's signature etched in acrylic glass, 67x41.5cm; "Untitled [female bodies]", from a 1919 design, H.C. and the artist's signature etched in acrylic glass, 50x60cm. Two of these plates (Aerograph and L'impossible) were made by Lucien Treillard for the Galerie Georges Visat (publisher) and printed by the Marquet Imprimeur workshop. In his autobiographical work Autoportrait, Man Ray gives a description of the painting "Danger" which inspired the serigraphy: "My last painting, painted with a spray gun, representing cogwheels which had been inspired by the gyrations of a Spanish dancer that I had seen in a musical review. The title was part of the composition. It read either DANCER or DANGER (in English there is only one letter to change between "dancer" and "danger". "Man Ray (Self-Portrait, Paris, Robert Laffont, 1964, p. 93). "After the poet's death, 'Danger' was broken up and became 'Dancer or Danger'. " Jean-Hubert Martin, with preface and seven texts by Man Ray (Man Ray, Objets de mon affection, Paris, Philippe Sers, 1983, p. 140). Caught up in the heart of the Dada and Surrealism movements, and rubbing shoulders with the most innovative artists of the century such as Duchamp and Picabia, Man Ray, whose real name was Emmanuel Rudnitsky, had all the cards in his hand to redefine the norms of artistic mediums. His interest in the history of art and literature nourished a polymorphous work, made up of paintings, objects, assemblages, photographs and films, which helped to broaden the definition of painting and fine art. A researcher but also an innovator, Man Ray, along with Christian Schad and Lazlo Moholy-Nagy, was one of the first artists of modernity to use the photogram, also known as "rayography" in the field of fine arts. Although he used figuration, Man Ray increased the potential of his photographic images and went beyond the oppositions of pictorial hierarchies. Growing up in Brooklyn, building his education on the anarchist principles of the "Ferrer Center" in New York, this apprenticeship freed him from respect for established values, desacralizing traditional techniques of expression and opening up the field of plastic experimentation. It is this adventurous state of mind that gives him the freedom to create projects in any medium, such as these serigraphs, first conceived as a communication tool before being included in the field of art. Condition A (some rare superficial scratches in the plexiglass without affecting the subjects).