Sade was incarcerated in various prisons for about 32 years of his life including 13 years in the Charenton insane asylum.
Much of his writing was done during his imprisonment.
Today, the name of the psychiatric hospital is
Esquirol hospital.
The term "sadism" is derived from his name.
Marquis de Sade
Man Ray, born Emmanuel Radnitzky (August 27, 1890–November 18, 1976), was an American artist who spent most of his career in Paris, France. Perhaps best described simply as a modernist, he was a significant contributor to both the Dada and Surrealist movements.
The references to a Man Ray/De Sade connection are many:
In the NY Times, ART REVIEW; Mordant or Mysterious, As the Spirit Moved Him, GRACE GlUECK writes, "It's not inappropriate that the artist (Man Ray) devoted this much attention to de Sade, because, as the writer Arturo Schwarz notes in his book on Man Ray, a streak of sadism runs through his work."
Janne Mileaf writes,
"Even regarding his profound interest in the Marquis de Sade, which is evidenced in a number of artworks dedicated to the libertine, Man Ray stressed Sade's "passionate defense of individualism and freedom" rather than his sexual practices per se," in Between you and me: Man Ray's Object to Be Destroyed - Cover Story
David Bates states that, "Man Ray in particular seems to have been preoccupied by Sade," in
Photography and Surrealism.
Exquisite Corpse says, "The relationship between George Hodel and Man Ray and their respective partners, Dorothy
Huston and Juliet Man Ray, was personal and long-standing. This friendship lasted for at least seven years, from 1944 to 1951, as the following points indicate."
In The Black Dahlia Avenger, Steve Hodel make a compelling case that his father, George Hodel, who was part of Man Ray's inner circle of friends did in fact murder Elizabeth Short. In Hodel's website's FAQ Chapter 19 he says,
Q: A new book, Exquisite Corpse: Surrealism and the Black Dahlia Murder, has just been published. It seems to go along with your theory that Man Ray and surrealists knew or were involved in the murder. Do you think they were?
"Your question has two parts. Let me address the second part, first. Do I believe that Man Ray or others were as you put it, “involved in the murder?” NO! There is no evidence to suggest that Man Ray or anyone else (other than possibly my father’s close friend and accomplice in other crimes, Fred Sexton), was involved in the actual murder."
"That said, I do believe that MAN RAY and other of George Hodel’s “inner-circle” of artist friends, including JOHN HUSTON and BEN HECHT--- DID KNOW OR EVENTUALLY LEARN THAT HE WAS THE BLACK DAHLIA KILLER."
* * *
On Oct 13, 2008, I was looking up Man Ray's works and I came upon this:
"Loosely affiliated with Dada's New York outposts -- Marcel Duchamp, Francis Picabia and Man Ray -- Elsa starred in a film made by Man Ray and Duchamp that portrayed the shaving of her pubic hair. The film was destroyed in the editing process, but a frame from it was salvaged by Duchamp. He used it as a kind of logo -- a likeness of the baroness's body with her outstretched legs resembling the letter A -- on notepaper for a letter to the Dada guru Tristan Tzara."
***
Please note that Beth was shaved and her legs were in the letter A position.
Man Ray's lover of six years, Kiki of Montparnasse.
"Despite their intense connection, Kiki ultimately went too far for Man Ray. When a cafe-owner in Nice called her a whore, she got into a fight, and was thrown into jail: Man Ray's lawyer could only secure her release by producing a doctor's certificate stating that she had a nervous disorder. Soon afterwards, Man Ray left Kiki for his photographic protege, Lee Miller. He broke the news to Kiki at one of their regular cafe haunts, and was forced to duck under a table while she hurled plates at his head."
"By the late 1920s, Kiki had her own cabaret, Chez Kiki, and a table at Le Dome was permanently reserved for her. She had also begun painting primitive, narrative scenes, and, in 1927, had a sell-out exhibition. Two years later, she published her memoir, The Education of a French Model, which was banned in America on the grounds of obscenity. Really, though, Kiki was most famous simply for being famous. Gossip swilled around her, and, even when the stories were apocryphal, Kiki revelled in them. There was the story that she had no pubic hair, for instance - that she had never grown any, or that she could only grow it when in love, or that she shaved it off and chalked it on again when posing for artists. Some women, however bohemian, might have found such speculation upsetting. Kiki didn't."
