VELIKE ŽENE SVETA GREAT WOMEN OF THE WORLD
K ada je, pre dve decenije, svet obavešten o njenoj smrti, u rubrikama posve- ćenim kulturi i umetnosti, Dora Mar je ispraćena uz “titulu” jed- ne od najznačajnijih Pikasovih lju- bavnica, čiji je lik, pored poslednje supruge, ostao najviše puta oveko- večen na platnima jednog od naj- većih umetnika 20. veka. Sa druge strane, nijedan drugi muškarac ni- je obeležio život i stvaralaštvo Ma- rove kao Pikaso. Rođena je u osvit 20. veka kao jedino dete iz turbuletnog braka Lujze Ise- voazan i Josipa Markovića, čuvenog hrvatskog arhitekte, čija se najveća dostignuća vezuju za Buenos Aires, u kom će i sama Dora provesti prve dve decenije života. Kao uspomenu na odrastanje u Argentini, ona će sa sobom u Pariz, u koji se uputila na studije slikarstva i fotografije, pone- ti perfektno poznavanje španskog i francuskog jezika, ali i duboke ožilj- ke zbog konstantnih porodičnih sva- đa i činjenice da je njena soba imala staklena vrata ne bi li roditelji uvek mogli da je „drže na oku”. Studentski život i prvi koraci u svetu umetnosti verovatno su jedine godi- ne života koje će Dora provesti u zna- ku apsolutne slobode. Možda se baš zbog toga, kao i iz potrebe da se što bolje uklopi u novu sredinu, odrekla imena koje je dobila po rođenju, An- rijet Teodora Marković, i samoj se- bi nadenula ono po kom će je isto- rija umetnosti upamtiti. Kao Doru Mar zapamtili su je i najveći geniji 20. veka, među kojima su Andre Bre- ton, Men Rej, Pol Elijar i Žan Kokto. Svi su voleli da poziraju pred objek- tivom fotoaparata Dore Mar, ali i da na svojim fotografijama i slikama sa- čuvaju od zaborava njene neobične oči i pogled koji je umeo da se zarije u najskrovitije kutove bića. Ipak, narastajuća slava Marove kao jedne od najcenjenijih fotografkinja avangardnog Pariza paradoksalno se okončava u onom momentu kada ju je sudbina pripremala na to da ostane
W hen the world was informed of her death two decades ago, in media articles ded- icated to culture and art, Dora Maar was eulogised under the“title” of one of Picasso’s most important lovers, whose face, alongside that of his last wife, was immortalised the most times on the canvases of one of the greatest artists of the 20 th century. On the other side, no oth- er man marked Maar’s own life and work as much as Picasso. Dora was born at the start of the 20 th century, as the only child born of the tur- bulent marriage of Julie Voisin and famous Croatian architect Josip Marković, whose greatest accomplishments were linked to Buenos Aires, where Dora also spent the first two decades of her life. As a memento of her upbringing in Argentina, she would take with her to Paris, where she went to study painting and photography, perfect knowledge of the Spanish and French lan- guages, but also a deep scar caused by constant family arguments and the fact that her room had a glass door so that her parents could always“keep an eye on her”. Here her life as a student and her first steps in the artworld probably represent the only years that Dora would spend in absolute freedom. This fact, coupled with her need to fit into her new environment as much as possible, is probably why she gave up the names she received at birth, Henriette Theodora Markovitch, and found in herself that for which she would be re- membered in the history of art. She was remembered as Dora Maar, by the greatest geniuses of the 20 th century, including An- dré Breton, Man Ray, Paul Éluard and Jean Cocteau. Everyone liked to pose in front of the lens of Dora Maar’s camera, but al- so to preserve from oblivion in their pho- tos and pictures her unusual eyes and her look that was capable of peering into the most deeply hidden corners of one’s being. Nevertheless, Maar’s rising repute as one of the most highly-rated photogra- phers of avant-garde Paris ended paradox- ically at an instant, though not because of her photographs, pictures and verses. All of this became less important in 1937, when she took on the role for which the
OČI KOJE SU OČARALE PIKASA THE EYES THAT ENCHANTED PICASSO
Nijedna žena u njegovom životu, premda ih je bilo mnogo u krevetu španskog majstora kubizma, nije imala oči kao Dora Mar, niti su one ikada bile toliko često ispunjene suzama kao u njegovom prisustvu No other woman in his life – and there were many in the bed of the Spanish master of cubism – had eyes like Dora Maar, nor were they ever so often filled with tears as they were in his presence
Tekst / Words: Nemanja Madžarević Fotografije / Photography: Profimedia.rs, Getty
| 45
Made with FlippingBook interactive PDF creator