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The exhibition, which runs at the Tate Modern until 15 th March and then moves on to the J. Paul Getty Museum in Los Angeles, shows that “The Weeping Woman” is the one who smiles the most sweetly in the end Izložba u Galeriji „Tejt modern“, koja je otvorena do 15. marta, a potom se seli u Muzej „Džeja Pola Getija“ u Los Anđelesu, pokazuje da je „Uplakana žena“ na kraju ipak ta koja se najslađe smeje
so did photography work for erotic maga- zines and was an accomplished documenta- ry photographer. She would also sometimes stand in front of the lens herself: she posed for Man Ray and Jean Cocteau, but also pho- tographed lm sets. “She was able to use a camera skilfully and to create something extraordinary out of everyday things,”says Emma Lewis, cura- tor of the exhibition at the Tate. It was around 1935 when Dora became part of a group of Parisian surrealist artists and gained a respectable place in this pre- dominantly men’s club. Her Portrait of Ubu photo, which is most likely an armadillo fe- tus and which resembles a friar tucked into his hood, would go on to become one of the most famous surrealist images of the time. It was while she was working as a pho- tographer on the shooting of Jean Renoir’s lmTheCrimeofMonsieurLangein1935that she met Pablo Picasso, although he would lat- er admit to not remembering that meeting. That’s why she tried to ensure he’d remem- ber her the next time. She discovered that he often visited the then bohemian Deux Mag- ots café and devised a plan to intrigue him. Journalist Jean-Paul Crespelle was sitting at an adjacent table on that day in 1936, and he recalled her“serious and restless face lit by light blue eyes through which light and shad- ows alternated. She stuck her pocketknife be- tween her outstretched ngers on the wood- en table. Sometimes she would miss a little and a drop of blood would appear among the embroidered roses on her black gloves”. When Picasso saw that, he was so fascinat- ed that he took the bloody glove as a keep- sake. Recounted many times, this scene has already become legendary. Whether true or not, art historian and DoraMaarbiographerVictoriaCombaliacon- siders it most interesting that it all suggests that Dora was in charge more than Pablo.
W henDoraMaar(HenrietteThe- odora Markovitch) passed away in Paris on 16 th July 1997 at the age of 90, few people even noticed. French newspaper Le Monde was the rst to publish the news, ten days after the fact. When others republished the news, they didn’t even mention Dora’s oeuvre. That wasn’t the topic of interest to them. The New YorkTimes dubbed her“Picasso’s Muse”and “the main model in his so-called portraits of weeping women”, and while British daily The Independent at least mentioned that Maar was an artist in her own right, it still pointed out that she would nevertheless be remem- bered as“the most emotional of all of Picas- so’s mistresses”. Never mind that she was one of the lead- ing photographers of the Surrealist move- ment, and one of the few women even work- ing in that circle, for critics she has forever remained Picasso’s “Weeping Woman”, for- ever the rejected and insatiable lover and muse. Dora herself was embittered about this image during her life. “All my portraits that Picasso painted are a lie. None of them is Dora Maar,”she said. Butthetimehascomeforthe“Weeping Woman”tobetheonewholaughsthesweet- est in the end, writes The Guardian in its re- view of the“Dora Maar”exhibition, which – after the Pompidou Centre in Paris – is now
making a guest appearance at London’s Tate Modern Gallery, after which it will move on to Los Angeles. The biggest retrospective of this artist’s work to date, it includes 300 ex- hibited works: photographs, photo montag- es, advertisements, self portraits, watercol- our works, landscape oil paintings and still life paintings. “It was as if someone had lift- ed the curtain. Forget those Picasso portraits: here’s how Dora Maar really wanted to be seen,” assessed The Guardian. Henriette Theodora Markovitch was born on 22 nd November1907inTours,France, as the only daughter of French boutique own- er Louise-Julie Voisin from Tours and Croa- tian architect Josip Marković from Sisak. Her family moved to Buenos Aires when she was three and she spent her childhood travel- lingbetweenSouthAmericaandEurope.The family returned to Paris in 1926, when Do- ra was 19. She began parallel studies of ne arts and photography, but gradually came to focus solely on photography, and opted for the bold step of opening her own pro- fessional studio as early as 1931. In honour of that step, she created an artistic name for herself: Dora Maar. Her studio created com- mercial works, fashion photography and ad- vertisements, but all of them showed Do- ra’s unbridled imagination, sense of playful subversiveness and innate sense of humour with a dose of morbidity. In addition, she al-
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