For the first time, a comprehensive exploration of Dora Maar’s enigmatic photography reveals her as an extraordinary and influential artist in her own right.
Dora Maar (born Henriette Théodora Markovitch, 1907–1997) was active at the height of Surrealism in France. She was recognized as a key member of the movement and maintained professional relationships with many of its prominent figures, such as André Breton, Brassaï, Henri Cartier-Bresson, and Man Ray. However, her standing as the one-time muse and mistress of Pablo Picasso—his famous “Weeping Woman”— has long eclipsed her creative output and minimized her influence.
Richly illustrated with 240 key works showcasing Maar’s inimitable acumen as a photographer, this book examines the full arc of her career for the very first time. Subjects include her innovative commercial and fashion photography, approach to the nude and eroticism, engagement with political groups, interest in socially concerned photography, affiliation with the Surrealist movement, and hitherto unknown work from her reclusive late career, providing a dynamic and multifaceted examination of an important artist.
This volume is published to accompany an exhibition on view at the Centre Pompidou Paris, France June 5 to July 29, 2019; the Tate Modern London, United Kingdom November 19, 2019, to March 15, 2020; and the J. Paul Getty Museum at the Getty Center April 21 to July 26, 2020.
About the Author
Damarice Amao is assistant curator of photography at the Centre Pompidou—Musée National d’Art Moderne, Paris. Amanda Maddox is associate curator in the Department of Photographs at the J. Paul Getty Museum. Karolina Ziebinska-Lewandowska is curator of photography at the Centre Pompidou—Musée National d’Art Moderne, Paris.
Praise for Dora Maar
Lead Arts & Photography title in Publishers Weekly’s 2019 holiday gift guide
“An in-depth examination of a productive and multi-faceted artist, a photographer and painter of real interest and complexity. In addition, the catalogue and various responding articles open up an expanded view of the Surrealist enterprise and of the French art world of the late 1920s through the 1940s."
— Art in America
“The catalogue is a nice tribute to her and it’s unfortunate we missed an opportunity to view her work with our own eyes. Perhaps at another time it will come to L.A., and a piece can then be written with the title, “Dora Maar: No longer a footnote.’”
— Bondo Wyszpolski