The Demoiselles d'Avignon whose heads resemble masks appears from then as a precursor of modern art. On the advice of André Breton, Jacques Doucet bought this painting from Picasso in December 1924. Picasso denied an African influence on that seminal example of his own primitive art.
Man Ray is much at ease in this intellectual bustle. In 1924 he takes a photo titled Black and white for which he juxtaposes an African mask with a nude statuette from the German Renaissance.
Another photograph by the same artist appears in May 1926 in the French edition of Vogue magazine. Titled Visage de nacre et masque d'ébène (Face in mother-of-pearl and ebony mask), it displays Kiki de Montparnasse with a Baule mask. With her eyes closed, Man Ray's muse has her head resting on a table on which the African object is held upright by her hand.
This image which is simply composed of two perfect ovals opens a vision of the opposites in the best surrealist tradition : white and black, Europe and Africa, horizontal and vertical, living and object. Its title became Noire et Blanche in 1928 without the agreement of the author.
The very first silver print of this photograph, 21 x 28 cm, was carefully prepared by the artist including many reworks to meet his ideal of perfection. Immediately acquired by Doucet, it makes Noire et Blanche appear as a response by Man Ray to the Demoiselles d'Avignon. This print is estimated € 1M for sale by Christie's in Paris on November 9, lot 8.
Always keen to his own promotion, Picasso no longer neglects the African trend. He highlights a posteriori the Demoiselles d'Avignon as the cornerstone of Cubism and looks for a young blonde muse with a flat nose. She will be Marie-Thérèse.
SOLD for € 2.7M including premium