“She wanted to seduce him, of that I’m sure. The whole scene with the knife is a kind of sadistic joke, almost like a performance,” said Combalia. However, the shoe was soon on the other foot. Picasso, who was her elder by 30 years, was at that moment in a long-standing re- lationship with Marie-Thérèse Walter, with whom he had a child. He refused to leave her. DorawashispublicmistressandMarie-Thérèse private. The two of them once encountered one another at Picasso’s studio, where they quarrelled and even came to blows. Pablo seemingly enjoy the fact that two women were competing for his a ections, be- cause he later described that wrestling scene as“oneofmyfavouritememories”.Doraturned that encounter into a work of art, a painting en- titledTheConversation.ItshowsMarie-Thérèse and her sitting side by side: Walter is looking to the side, out of frame, passive and out of touch, while Maar is looking at her, but has her back turned to the viewer so we can’t see her face. Picasso painted Dora a lot, rst as a nymph or a bird, and later in tears. In the most fa- mous version, The Weeping Woman, from 1937, she seems to be literally falling apart before our eyes. It was also during 1937 that Picasso painted Guernica, and Dora Maar – apart from teaching him techniques in the darkroom – agreed to photograph the en- tire process of creating the work. However, Picasso simultaneously lled her head with the idea that photography was a lower form of art than painting and, under his encourage- ment, Dora increasingly replaced her camera with a paintbrush. When their relationship - nally came to an end in 1946, she was broken and su ered a nervous breakdown, which was heightened by the loss of her mother. She at- tended psychoanalysis and was subjected to variousextremetypesoftreatment.Sheturned toCatholicismandmysticism.Rumoursbegan circulating – supported by her former lover – that she’d gone crazy. Frances Morris, direc- tor of the Tate Modern, visited Dora Maar at her Paris apartment in 1990. “It was the home of an artist. Every sur- face,everywallconveyedthatmessage.There were many canvases and easels covered with polythene. She was still creating,”says Morris. When Dora opened the door for her, she rst thought she was being greeted by a maid. “In front of me was a little old lady. But she soon “blew me away” with her energy. She had a very strong character, one could feel that. And it was more important for her to create art than how others would see it,” notes Morris. Victoria Combalia considers that, despite her talent being neglected while she was alive, Dora deserves such an exhibition as this.“Dora deserved for the world to know about her. We owe her that justice.”
kako da ga zaintrigira. Novinar Žan Pol Krespel sedeo je tog dana 1936. za susednim stolom i prisećao se njenog „ozbiljnog i nespokojnog lica obasja- nog svetloplavim očima preko kog su naizmenično prelazile svetlosti i sen- ke. Zabadala je džepni nožić između raširenih prstiju na ruci u drveni sto. Ponekad bi malo promašila i kap krvi bi se pojavila među vezenim ružama na njenim crnim rukavicama“. Kada je Pikaso to ugledao, toliko ga je fascini- rala da je uzeo krvavu rukavicu za us- pomenu. Mnogo puta prepričavana, ta scena je već ušla u legendu. Bilo da je istinita ili ne, Viktorija Kombalija, istoričarka umetnosti i bio- graf Dore Mar, smatra da je najintere- santnije što sve to nagoveštava da se Dora tu više pitala nego Pablo. „Htela je da ga zavede, sigurna sam u to. Cela scena sa nožem je kao neka sadistička šala, gotovo kao neki per- formans“, izjavila je Kombalija. No tas je ubrzo pretegao na drugu stranu. Trideset godina stariji Pikaso je u tom trenutku bio u dugogodišnjoj vezi sa Mari Terez Valter, sa kojom je imao dete. Odbijao je da je ostavi. Do- ra je bila njegova javna ljubavnica, a Mari Terez privatna. Njih dve srele su se jednom u Pikasovom ateljeu, posva- đale se, čak i potukle. Pablo je, izgleda, uživao u tome što se dve žene nadme- ću za njegovu naklonost, pošto je ka- snije tu scenu rvanja opisao kao „jed- nu od omiljenih uspomena“. Dora je taj susret pretočila u umetničko delo, sliku nazvanu Razgovor . Mari Terez i ona sede jedna do druge: Volterova gleda negde van rama, pasivna i ne- dokučiva, dok Marova gleda u nju, ali je posmatraču okrenula leđa i ne vidi- mo joj lice. Pikaso je mnogo slikao Do- ru, prvo kao nimfu ili pticu, a kasnije
svu u suzama. U najpoznatijoj verziji, na Uplakanoj ženi iz 1937, ona deluje kao da se bukvalno raspada pred na- šim očima. Iste 1937. Pikaso je nasli- kao Gerniku , a Dora Mar je, osim što ga je naučila tehnikama iz mračne ko- more, pristala da fotografiše čitav pro- ces nastanka dela. Međutim, Pikaso joj je istovreme- no punio glavu da je fotografija niža umetnost od slikarstva i, uz njegovo nagovaranje, Dora je sve češće foto- aparat zamenjivala kičicom. Kada je veza između njih dvoje konačno doš- la do kraja, 1946, bila je skrhana i doži- vela je nervni slom, pojačan gubitkom majke. Išla je na psihoanalizu i biva- la podvrgavana raznim ekstremnim vidovima lečenja. Okrenula se kato- ličanstvu i misticizmu. Počele su da kruže glasine, koje je potpirivao njen donedavni ljubavnik, da je poludela. Franses Moris, direktorka Galerije Tejt modern , posetila je Doru Mar 1990. u njenom stanu u Parizu. „Bio je to dom jednog umetnika. Svaka površina, svaki zid je prenosio tu poruku. Bilo je mnogo platna i štafe- laja prekrivenih polietilenom. Još je stvarala“, kaže Morisova. Kada joj je Dora otvorila vrata, pr- vo je pomislila da je služavka. „Preda mnom je bila neka sitna starica. Ali ubrzo me je oduvala svo- jom energičnošću. Bila je veoma snaž- nog karaktera, mogli ste to da osetite. Važnije joj je bilo da stvara umetnost nego to kako će je drugi videti“, isti- če Franses Moris. Viktorija Kombalija smatra da upr- kos tome što je njen talenat bio zane- maren dok je bila živa, Dora zaslužu- je jednu ovakvu izložbu. „Dora je zaslužila da svet za nju zna. Dugujemo joj tu pravdu.“
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