In freewheeling 1920s Paris, Kiki de Montparnasse captivated as a nightclub performer, sold out gallery showings of her paintings, starred in Surrealist films, and shared drinks and ideas with the likes of Jean Cocteau and Marcel Duchamp. Her best-selling memoir—featuring an introduction by Ernest Hemingway—made front-page news in France and was immediately banned in America. All before she turned thirty.Kiki was once the symbol of bohemian Paris. But if she is remembered today, it is only for posing for several now-celebrated male artists, including Amedeo Modigliani and Alexander Calder, and especially photographer Man Ray. Why has Man Ray’s legacy endured while Kiki has become a footnote?Le Violon d’IngresNoire et blancheKiki Man Ray
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Mark Braude is a cultural historian and the author of Kiki Man Ray, The Invisible Emperor, and Making Monte Carlo. He has been a visiting fellow at the American Library in Paris, a postdoctoral fellow at Stanford, a National Endowment for the Humanities Public Scholar, and the recipient of a Silvers Grant. He lives in Vancouver with his family.
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