Landscape (Abstraction) - Man Ray
Archival giclée
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Description
An early 1913 abstract oil painting by Man Ray, featuring rhythmic, interlocking forms and a bold, high-contrast colour palette.
This early work by Man Ray, dated 1913, captures the artist during his formative years in New York. Before he became associated with the Dada and Surrealist movements in Paris, Ray experimented with the visual language of European modernism. This painting reflects his engagement with the fractured forms and rhythmic energy characteristic of the period.
The composition avoids traditional representation. Instead, it relies on a series of interlocking, curved shapes that suggest organic movement. The application of paint is energetic, with visible brushwork that builds a sense of depth through overlapping planes. The palette is composed of high-contrast tones, including deep blues, ochres, and flashes of red, which create a sense of internal tension within the frame.
Unlike his later photographic works, this painting demonstrates an interest in the physical properties of pigment and the construction of space through colour. The forms appear to push against one another, creating a dynamic surface that resists a singular reading. It is a study in how colour and line can function independently of a specific subject, marking a period of transition in Ray's career as he moved away from traditional academic training toward a more experimental approach to visual art. The work remains a clear example of the early twentieth-century shift toward non-representational modes of expression, where the artist prioritised the internal logic of the canvas over the depiction of the external world.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Landscape (Abstraction) - Man Ray
Artist Biography
Man Ray
He moved to Paris in 1921 and stayed for twenty years. He arrived knowing Marcel Duchamp, who had been his closest collaborator in New York. The two of them shared an instinct for provocation. Man Ray's contribution to Dada was the 'rayograph', made by placing objects directly on photographic paper and exposing them to light. No camera, no lens. The results look like X-rays of the unconscious: keys, springs, hands, fabrics, rendered as white silhouettes on black.
He became the portrait photographer of the Parisian avant-garde. Picasso, Hemingway, Gertrude Stein, Jean Cocteau, the Surrealists. The portraits are sharp, well-lit, and respectful, which is not what you would expect from a Dadaist. He also worked in fashion photography for Vogue and Harper's Bazaar, which paid the bills and gave him access to models and studios.
The most famous image is Le Violon d'Ingres (1924): a photograph of Kiki de Montparnasse's back with f-holes painted on it, turning a woman into a cello. It is witty, elegant, and uncomfortable in exactly the way Surrealism intended. He claimed to value his paintings more than his photographs. The world disagreed, and he never entirely forgave it.
He returned to Paris after the war and stayed until his death in 1976, at eighty-six.
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