French Sculpture Census

crédits photo :
© artiste : Fair Use (Section 107, Copyright Act, 1976)

RAY, Man
Philadelphie, PA 1890 - Paris 1976

Emak Bakia
Emak Bakia

1926/1962 (1962, réplique de l'original de 1926)
manche de violoncelle et rouleau de crin de cheval (vérif)

74,2 x 14,5 x 27,1, sur base en bois en deux morceaux : 4,2 x 27,9 x 28,2

N° d'inv. : 5.1967
Credit Line : Kay Sage Tanguy Fund

New York, New York, The Museum of Modern Art


  • 1967, acquis grâce au fonds Kay Sage Tanguy


  • Museum's website, April 11, 2013
  • 1967 NY MoMA Barr
    Alfred H. Barr, Painting and Sculpture in The Museum of Modern Art, 1929-1967, New York, 1967, ill. 417
  • 1977 NY MoMA Legg
    Painting and Sculpture in The Museum of Modern Art, with Selected Works on Paper. Catalogue of the Collection, January 1, 1977, Edited by Alicia Legg, New York, The Museum of Modern Art, 1977, p. 60


Emak Bakia is the name of the Basque villa where the artist worked on the film of the same name, 1927.
MoMA's website, April 11, 2013:
The Erotic Object: Surrealist Sculpture from the Collection
June 24, 2009–January 4, 2010
Like many Surrealist objects, Emak Bakia materialized from a combination of chance discovery and artistic invention. Man Ray found the elegant amputated neck of a double bass at a flea market and paired it with the long, flowing hair of a horse. The light gray horsehair feminizes the instrument's curvaceous forms and is the material typically used to make its bow. Man Ray's enigmatic Basque title for the work, which translates as "leave me alone," is adapted from his 1926 film of the same name. As the title underscores, this object is ultimately an instrument of frustration, from which no music will ever flow.