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“... The self-portraits are hung with texts in the glass cases below corresponding to the faces above. Man Ray sent two texts, ‘L’Inquiétude’ and the unintelligible ‘Simultaneous Dialogue’. One of Sophie Taeuber-Arp’s wooden constructions is included; in the photograph she sent she is half-hidden by its wooden head. Further along, Jean Crotti’s ...”

“... Eluard (5), Péret (5), Prévert (6), Queneau (4) and Pierre Unik (10); and Max Ernst (1), Man Ray (1) and Yves Tanguy (7). The eldest, Ernst and Man Ray, were nearing 40, the youngest, Unik, was 19, but generally they were in their late twenties or early thirties. And almost all of them were writers. Of ...”

“... her came to know Duchamp, who had arrived in New York with a glass globe full of Paris air, and Man Ray, who took the first of his many photographs of her. Her powerful, unbeautiful face suddenly fitted. He saw and brought out in her a dark glamour. She returned to Europe in 1922, with a daughter, but, like Gabrielle Picabia, without her husband, and ...”

“... Charles Ray’s​ life-sized Young Man, machine-milled in 2012 from a solid stainless-steel block, is meant, Ray says, ‘to move forwards and backwards in increasingly irrelevant time’. The phrase is less opaque than it seems. His ambition was to make a kouros, but one modelled on the body of a long-time Los Angeles friend ...”

“... in 1916 John Quinn began collecting his work; he knew the photographers Edward Steichen and Man Ray – and Romanian connections, which were maintained all his life. There is hardly a significant name which does not turn up in some context or other, from Picasso and the Douanier Rousseau to Nancy Cunard and Paul Poiret. Brancusi’s work was the ...”

“... Alice Phillipot moved to Paris, where she designed hats with Elsa Schiaparelli and modelled for Man Ray. In 1931 she met the Austrian painter Wolfgang Paalen, whom she married in 1934. The pair became involved with the Surrealists and others orbiting their circle, including Picasso and Joan Miró, who, hearing of the Paalens’ interest in prehistoric ...”

“... punch-ups and, of course, in André Breton, a leader. Its proclaimed goal was the liberation of ‘man’ from the chains of the super-ego and of ‘life’ from the constraints of the reality-principle (‘reality’, Breton wrote in one of his many lofty pronouncements, was ‘a miserable mental expedient’). Almost permanently divided within itself, the ...”

“... the shorn collaborator is right next to us, gazing at the ground in either pain or penance. Man Ray got some of his most beautiful images out of the ecstatic blur of Miller’s arched neck, her face in solarised profile, and the constructivist play of shadows on her torso. But Miller’s contribution to that world as a photographer was weak. Her ...”

“... course, were not as charmed as Tchelitchev, and Stein herself was not entranced with every young man who used her hospitality for professional advancement. Her feud with Hemingway was rancorous, though carried on with better humour on Stein’s part than on his. ‘Play Hemingway!’ she in structed her dog Basket: ‘Be fierce!’ It was the pictures that ...”

“... War in New York as part of Walter Arensberg’s circle, which included Duchamp, Picabia, Varèse, Man Ray and William Carlos Williams. She sketched Freud in Vienna and lived among the avant garde in postwar Berlin. In the Twenties, when American expatriates flocked to Paris, Loy was there too. In accounts of those years, Loy’s charm and wit are ...”

“... attached to traditional techniques of printing and retouching. Others, such as a late series of Man Ray-ish nudes, resemble too closely the fashion photography that is always stylistically in the wings when one looks at her work. She greatly admired the fashion photographer Deborah Turbeville, whose images of neurasthenic models in Mittel-European grey ...”

“... the cyclist caught gliding down a cobbled hill at the base of some stone steps in Hyères, and the man jumping over a puddle behind the Gare Saint-Lazare, captured in mid-air and reflected perfectly in the water, the pitched roof of the station behind him shrouded in mist. Madrid, 1933 Behind the Gare Saint-Lazare, Paris, 1932 Mexico, 1934 Spain, 1933 ...”

“... can never forget the excitement in my mind after seeing it,’ Akira Kurosawa said about Satyajit Ray’s first film, Pather Panchali (The Song of the Little Road), and it’s true: this movie, made for next to nothing, mostly with untrained actors, by a director who was learning (and making up) the rules as he went along, is a work of such lyrical and ...”

“... eager to retrieve the honour of all women whose creative work was allowed to lapse unexamined in a man’s world.But when Elizabeth Miller, born in 1907 and comfortably reared in Poughkeepsie, first arrived in New York and attracted public notice, she did it by typifying the post-Great War flapper, a new creature who threatened old norms of female being and ...”

“... the Hayward Gallery’s Undercover Surrealism exhibition in 2006, and at Tate Modern’s Duchamp, Man Ray, Picabia in 2008. That the pairing may seem a strange one – despite their friendship and collaboration – is testament to the different ways in which both artists have been typecast. The curators are keen to point out that each was mercurial from ...”