Henriette
Theodora Markovitch was born on November 22nd, 1907, in the city of Paris. She grew up to become Dora Maar, the photographer,
pioneering Surrealist artist, antifascist and muse of Pablo Picasso. The Paris Muse is an exploration of Maar’s
relationship with Picasso.
In many respects, this book could be seen as a romance, but there’s a lot of discord in the relationship, a lot of distrust, and yet a common bond persists that keeps these two together, even after long periods of separation.
In one other respect, the book is an enigma. Despite the central characters being real people who have both left a body of artistic work behind, along with numerous well-researched books about each of their lives, it is described as a novel.
I’ve seen some of Maar’s works. I’ve seen some of Picasso’s work, too. When I visit exhibitions, I like to figure out what the artist is telling me with each piece I view. Sometimes, the real message may in a tiny detail somewhere on the canvas or in the photo. That time spent looking and deciphering is my treat to myself and always the reason for my trip to whichever exhibition it is. It also means that I have reached certain conclusions about the artist's mind. So, picking up a book about people that I know something about, and to read on the cover the words ’A novel’ was a bit perplexing. However, the author does state in the notes at the back that she has based her fiction ‘on the biographical facts’ of Dora Maar’s life. She then goes on to say that she applied artistic license to ‘facts, characterisations, … and chronologies.’ The middle aspect I get. The other two not so much.
I started reading with a feeling of trepidation. But, I soon realised, that the story was every bit as gripping as any drama that invites the reader to examine the dynamics between the characters. The story is thought-provoking, tense with emotion and passion and countered by the various periods of distress supposedly experienced by Maar. The narrative voice is easy and carries you through every page and all the highs and lows of this imagined relationship. It was a thoroughly good read.
To turn back to reality. Maar had an eight-year relationship with Picasso, both on a personal and a professional level. They both influenced each other and Maar was the model for Picasso’s piece Monument à Apollinaire and featured in other works namely Weeping Woman. Maar continued her own work and died on July 16th, 1997, in the city where she had spent the majority of her life.
In many respects, this book could be seen as a romance, but there’s a lot of discord in the relationship, a lot of distrust, and yet a common bond persists that keeps these two together, even after long periods of separation.
In one other respect, the book is an enigma. Despite the central characters being real people who have both left a body of artistic work behind, along with numerous well-researched books about each of their lives, it is described as a novel.
I’ve seen some of Maar’s works. I’ve seen some of Picasso’s work, too. When I visit exhibitions, I like to figure out what the artist is telling me with each piece I view. Sometimes, the real message may in a tiny detail somewhere on the canvas or in the photo. That time spent looking and deciphering is my treat to myself and always the reason for my trip to whichever exhibition it is. It also means that I have reached certain conclusions about the artist's mind. So, picking up a book about people that I know something about, and to read on the cover the words ’A novel’ was a bit perplexing. However, the author does state in the notes at the back that she has based her fiction ‘on the biographical facts’ of Dora Maar’s life. She then goes on to say that she applied artistic license to ‘facts, characterisations, … and chronologies.’ The middle aspect I get. The other two not so much.
I started reading with a feeling of trepidation. But, I soon realised, that the story was every bit as gripping as any drama that invites the reader to examine the dynamics between the characters. The story is thought-provoking, tense with emotion and passion and countered by the various periods of distress supposedly experienced by Maar. The narrative voice is easy and carries you through every page and all the highs and lows of this imagined relationship. It was a thoroughly good read.
To turn back to reality. Maar had an eight-year relationship with Picasso, both on a personal and a professional level. They both influenced each other and Maar was the model for Picasso’s piece Monument à Apollinaire and featured in other works namely Weeping Woman. Maar continued her own work and died on July 16th, 1997, in the city where she had spent the majority of her life.
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