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Dora Maar"Pink Thought" Mixed media on paper, 30 x 23 cm, 19501950
1950
$11,986.17
£8,966.44
€10,000
CA$16,502.41
A$18,059.90
CHF 9,543.07
MX$215,556.91
NOK 121,781.53
SEK 111,379.12
DKK 76,188.70
About the Item
Pink Thought, splendid black frame 1930
Abstract work by Dora Maar from the post-Picasso period; these works describe the artist's moods and mental landscapes.
Dora MAAR (Paris 1907 – 1997)
Born Henrietta Theodora Markovitch, Dora Maar was a French photographer, painter, and poet whose career and achievements were overshadowed, during her lifetime, by her relationship with Pablo Picasso. Her work was rediscovered and re-evaluated after her death.
Maar, with a French mother and a Croatian father, spent her childhood in Buenos Aires, where her father worked as an architect. In the early 1920s, she returned to Paris, where she attended various art schools, including the Académie Julian and the studio of André Lhote. In the early 1930s, she began her career as a photographer, sharing a studio with the set designer Pierre Kéfer, met Man Ray, and adopted the name Dora Maar. The 1930s, characterized by a strong economic crisis, represented a favorable period for the development of "street photography". Maar's attention was captured by beggars, vagrants, and single mothers with young children, whom she portrayed with profound humanity. She worked in fashion and advertising, but her network of acquaintances expanded rapidly, and from 1935 she was a full member of the Surrealist movement, actively sharing its left-wing political commitment, photographing many of the artists who were part of it, exhibiting with them (she was one of the very few women admitted), and forging strong ties with André Breton, Paul Éluard, and Georges Bataille. Her work began to take on the dreamlike, dark, and sometimes distressing characteristics typical of Surrealism. The world of dreams, children's art, the primitive, eroticism, and the unsettling distortion of everyday life: this is Dora's universe. Technically, she possessed extensive experience, allowing her to retouch negatives and superimpose images with rare sensitivity. Her works include solarizations, collages, and photomontages, some of which have become celebrated icons of Surrealism.
The relationship between Maar and Picasso likely began in 1935. She often photographed him, just as he portrayed her – she is the famous "Weeping Woman" – and her photos of him painting Guernica are an extraordinary historical document testifying to the creation of one of the most significant paintings of the twentieth century. It was Picasso who convinced her to abandon photography and dedicate herself to painting. This process proved to be extremely conflictual in every respect, because it is difficult to emancipate oneself from the overwhelming influence of genius. Dora's compositions, however, particularly the large still lifes, reveal a stillness and stylized forms that foreshadow the future abstract language she would adopt. The relationship with Picasso deteriorated over the years until it definitively ended around 1944. Her tormented love life and the painful events of the Second World War overwhelmed her, plunging her into depression and a psychological crisis that required psychiatric hospitalization. She even underwent electroshock therapy, and thanks to the intervention of her friend Éluard, she was treated by the psychoanalyst Jacques Lacan. To understand the Picasso-Maar relationship, a statement made by the latter is illuminating: "Everyone thought I would commit suicide after Picasso left me, but I didn't do it so as not to give him that satisfaction." In reality, Dora was desperate, and the following fifty years saw her engaged in a titanic struggle to rediscover herself.
Painting and religion represented the two paths she took to transform the despair caused by the loss of her points of reference. Until the end of the 1950s, she still frequented some friends and artistic circles, but her appearances became increasingly rare, and she no longer exhibited her work. Her painting style evolved freely. The subjects of her works were enriched by the unadorned landscapes of Ménerbes, the place where Picasso had given her a house and where, when she wasn't in Paris, she led a very private life: meditation, spiritual searching, and painting. Poetry, a dimension that accompanied her throughout her life, left an increasingly profound mark on her artistic journey. Her landscapes are essentially lyrical, even verging on abstraction. Little by little, figuration disappears to give way to the poetic essence of the subject. From the 1980s onwards, still dividing her time between Paris and Ménerbes, she became completely isolated, and her religiosity turned into bigoted fanaticism. In the last years of her life, Dora Maar resumed photography and reworked old photographs, evidently driven by inexhaustible creativity.
In 1995, her first major retrospective, Dora Maar Photographer, was held in Valencia (Fundación Bancaixa).
In 2006, her house (the Dora Maar House) in Ménerbes was opened as a retreat for writers, scholars, and artists as part of a program.
- Creator:Dora Maar (1907 - 1997, French)
- Creation Year:1950
- Dimensions:Height: 17.72 in (45 cm)Width: 22.05 in (56 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Torino, IT
- Reference Number:1stDibs: LU537315242972
Dora Maar
Henriette Theodora Markovitch, known as Dora Maart, was a French photographer and painter. She was also known as model of several paintings by Picasso.
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