Man Ray. Le violin de Ingres. 1924. [Source: Google Images/Man Ray Trust]
Doctoring photographs was nothing new when Man Ray created this iconic image in 1924. Photographers had been retouching photos ever since Niépce and Daguerre invented the medium in the early 1800s. Indeed, an early test of the “art” in photography was evidence of the photo-maker’s hand in the print. It was understood to be a sleight of hand, known to discerning connoisseurs but not to the public at large. What was astounding and revolutionary about Man Ray’s work was the obvious irony of his manipulation. To impose anachronism on it, Le violin de Ingres can be viewed as the Mother of All Photo-shopped Images.
The model here is the legendary Kiki of Montparnasse, in her salad days, demurely Orientalist.
![Gustave Caillebotte. Paris Street, Rainy Day (La Place de l’Europe, temps de pluie). 1877. Oil on canvas. Art Institute of Chicago. [Source: Wikimedia Commons]](../wp-content/uploads/2009/02/gustave_caillebotte_paris_street_rainy_day_1877_wiki.jpg "gustave_caillebotte_paris_street_rainy_day")
![Fog at Isle Royale [Source: wildmengoneborneo.com]](../wp-content/uploads/2008/04/isle_royale_fog.jpg "Fog at Isle Royale [Source: wildmengoneborneo.com]")
If there is an emerging genetic underclass, I could run for class president or class clown. Read more in 
![Grant Wood. Parson Weem’s’ Fable. 1939. Amon Carter Museum, Forth Worth.. Steven Biel describes the painting: “Parson Weems, imitating Charles Willson Peale’s pose in The Artist in His Museum (1822), opens a red velvet curtain on the legendary scene: Augustine Washington, elegant in crimson coat, white ruffle, tan breeches, silver-buckled pumps, and green tricornered hat, grasps in his right hand the slim trunk of the bent cherry tree. A row of cherries dangles from the perfectly rounded treetop, mirroring the very cherry-like fringe of the Parson’s curtain. Augustine’s outstretched left palm and furrowed brow signal a serious inquiry. His son George, boyish in stature and dress—coatless, with sky-blue breeches and petite buckled pumps—is manly in his expression. In fact, his white-wigged head is that of Gilbert Stuart’s portrait and the dollar bill. He points with his right hand to the hatchet in his left. Wood chips lie in the circle of soil at the base of the tree, its lower trunk smoothly incised and poised to split off. In the background, a well-dressed slave couple harvests the fruit of a second tree.” [Alt Text Source: Common-Place/ http://www.common-place.org/vol-06/no-04/biel/ ]](../wp-content/uploads/2011/08/grant_wood_parson_weems_fable_200px.jpg "grant_wood_parson_weems_fable_200px")
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