Med vsemi slikami umetnika Dora Maar je najbolj znana Pere Ubu (1936); razpolaga v muzeju Metropolitanski muzej umetnosti, New York. Takoj za njima sta Portrait de Frida Kahlo in Portrait of Picasso (1938). Med 13 dela umetnika Dora Maar v našem katalogu so ta 13 najbolj znamenita, od katerih je vsaka prikazana z letom nastanka, muzejem in zgodbojo.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026.
Dora Maar’s “Pere Ubu,” painted in 1936, isn't merely a portrait; it’s an unsettling plunge into the subconscious, a meticulously crafted tableau of primal fear and distorted humanity. This arresting image, rendered in stark monochrome with a dramatic interplay of light and shadow, captures the essence of Surrealism at its most potent – a deliberate disruption of reality designed to evoke profound emotional responses. The painting immediately confronts the viewer…
The artwork titled Portrait de Frida Kahlo is a photographic portrait created by the artist Dora Maar. This specific work features the Mexican artist Frida Kahlo as the subject. The image captures the subject in a formal pose, focusing on her upper body and shoulders. The composition is centered, presenting the subject from the waist up against a simple, blurred background.
Double Portrait is a Surrealist Gelatin Silver Print created by the artist Dora Maar. This photographic print emerged from the artist's experimental period in the mid-1930s, specifically dating to about 1935.
Četiri teme, ki se najpogosteje pojavljajo na teh platnah, vsaka z svojim najbolj priljubljenim primerom.
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Dora Maar | Slike iz tega seznama |
|---|---|---|---|
 San Francisco Museum of Modern Art |
San Francisco | 2 | Untitled, Double Portrait |
 Metropolitanski muzej umetnosti |
New York | 1 | Pere Ubu |
 Izraelski muzej |
Jeruzalem | 1 | Portrait of Picasso |
Dora Maar’s “Pere Ubu,” painted in 1936, isn't merely a portrait; it’s an unsettling plunge into the subconscious, a meticulously crafted tableau of primal fear and distorted humanity.…
Pere Ubu (1936), Metropolitanski muzej umetnosti, New York. sledita Portrait de Frida Kahlo in Portrait of Picasso (1938).
Dora Maar, rojen leta 1907, je imel 29 let: Pere Ubu datira iz leta 1936.
Pere Ubu, Portrait de Frida Kahlo, Portrait of Picasso, Untitled, The years lie in wait for you, Double Portrait, Untitled (Hand-Shell), The Pretender, Monster on the Beach in Cavalier. Vsako platno v zgornji uvrstitvi vključuje leto nastanka in muzej.
V našem katalogu je 13 del umetnika Dora Maar, datiranih od 1934 do 1960.
Večinoma v San Francisco Museum of Modern Art (San Francisco), Metropolitanski muzej umetnosti (New York) in Izraelski muzej (Jeruzalem); zgornji seznam navaja vsak muzej in njegova platna.
V obdobju 1930s, ki je vključilo 9 od 13 del na tej strani, je med njimi tudi Pere Ubu.
Najstarejše platno tukaj je Untitled (Hand-Shell) (1934); najstarejše je Untitled Landscape (1960).
Black and white (2) in Hair (2), na 13 delih na tej strani.
Surrealism, kot to pokažejo platna na tej strani.
Muzej San Francisco Museum of Modern Art, San Francisco hrani 2 del z te strani, med katerimi so tudi Untitled in Double Portrait.
Dora Maar (Henriette Theodora Markovitch, 1907-1997) remains a captivating figure in the annals of 20th-century art – a photographer, painter, and intellectual whose life was inextricably intertwined with the turbulent currents of Surrealism, political activism, and the passionate intensity of her relationship with Pablo Picasso. Often overshadowed by the brilliance of her collaborator, Maar’s unique vision, marked by psychological depth, social critique, and a strikingly unconventional approach to both photography and painting, deserves far greater recognition. Her story is not merely one of a muse; it's that of an artist who forged her own path amidst a world grappling with war, revolution, and the shifting landscapes of artistic expression.
Maar's involvement in the Surrealist movement was profound, extending beyond mere aesthetic affiliation to encompass a deep engagement with its political ideals. Following her introduction to Pablo Picasso in 1935, she became deeply involved in leftist groups like “masses” and the Union of Intellectuals against Fascism, reflecting a commitment to social justice that permeated much of her work. This period witnessed a significant shift in her artistic practice, influenced by both Picasso’s mentorship and her own evolving sensibilities.
Maar’s photographic output spanned a diverse range of subjects, from glamorous fashion shoots to poignant depictions of social unrest. Her portraits are particularly striking – characterized by their psychological intensity, fragmented forms, and often unsettling gazes. She possessed an uncanny ability to capture the essence of her subjects, revealing both their beauty and their vulnerability.
While often remembered primarily as Picasso's muse and lover, Dora Maar’s artistic legacy extends far beyond this association. Her pioneering work in photography – particularly her exploration of psychological themes and unconventional techniques – established her as a significant figure within the Surrealist movement. Her commitment to social justice and political activism further enriched her artistic practice, imbuing her work with a powerful sense of empathy and critical awareness. Today, Maar’s photographs continue to resonate with viewers, offering a glimpse into a complex and fascinating life—a testament to an artist who defied expectations and left an indelible mark on the world of art.
