Dora maar

Dora Maar is mostly remembered as Picasso’s muse and lover, but his portrait of her as the Weeping Woman, bordering on madness, detracts from her singular work as a prominent photographer of the surrealist movement. Henriette Théodora Markovitch was born to a French mother and...

Dora Maar

Dora Maar’s “Double Portrait,” 1930s, made with double exposure photograhy.

No matter what you touch and you wish to know about, you end up in a sea of mystery. You see there’s no beginning or end, you can go back as far as you want, forward as far as you want, but you never got to it, it’s like the essence, it’s that right, it remains. This is the greatest damn thing about the universe. That we can know so much, recognize so much, dissect, do everything, and we can’t grasp it. And it’s meant to be that way, do y’know. And there’s where our reverence should come in.

The erotic, the exaggerated and the elegant are interwoven in all the accounts of Dora Maar’s meeting with Picasso in 1936...

Maar's photographic experiments reject the pretense of naturalism in straightforward photography and attempt to achieve something much deeper than resemblance.

Surrealism, erotica, photojournalism and acid: in this beautifully curated show, Dora Maar’s creativity far outweighs her relationship with Picasso

MAN RAY (1890-1976), Dora MAAR (1907-1997), and Paul ELUARD (as 'Didier Desroches'; 1895-1952). Le Temps déborde. Paris: Cahiers d'Arts, 1947. 4° (247 x 185mm). Frontispiece and 10 illustrations after photographs by Man Ray and Dora Maar. Original printed wrappers (small chips at spine ends); in early, possibly contemporary glassine (chipped at the spine, browned); blue morocco clamshell case, unsigned but by Cambras, and blue cloth chemise.

Dora Maar. Mannequin in Window. 1935. Gelatin silver print. 9 1/2 × 6" (24.1 × 15.2 cm). Gift of Helen Kornblum in honor of Roxana Marcoci. 57.2020. © 2025 Dora Maar Estate/Artists Rights Society (ARS), New York/ADAGP, Paris. Photography

Best known as Picasso’s model, she is revealed in a new show as a significant artist in her own right.

Published by Louisiana Museum of Modern Art, 2013. Edited by Michael Juul Holm, Mette Marcus, Kirsten Degel, Jeanne Rank. Foreword by Poul Erik Tøjner and Marion Ackerman. Introduction by Mette Marcus and Kirsten Degel. Text by Ruth Hemus. Women of the Avant-Garde 1920–1940 presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes... ARTBOOK | D.A.P. Catalog FALL 2012 Contemporary Art Movements. Distributor Availability…

London gallery shows intimate images, including portraits of the artist, that reveal a great talent in her own right

Dora Maar Nusch Éluard, Paris 1935

by musidora