Pablo Picasso and Dora Maar a period of conflict (1936-1946)

Although Pablo Picasso spotted Dora Maar in a café in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, "It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora...On an earlier day, he had already noti...

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1. Verfasser: Mallen, Enrique 19XX- (VerfasserIn)
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Veröffentlicht: Brighton ; Chicago ; Toronto Sussex Academic Press 2021
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520 3 |a Although Pablo Picasso spotted Dora Maar in a café in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, "It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora...On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same café in the company of the surrealist poet Paul Éluard, who knew her, the poet introduced her to Picasso" (Brassaï, a.k.a. Gyula Halász, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artist's life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists' revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picasso's own inner torments during these troubled years--back cover 
600 1 7 |a Maar, Dora  |d 1907-1997  |0 (DE-588)119167492  |2 gnd  |9 rswk-swf 
600 1 7 |a Picasso, Pablo  |d 1881-1973  |0 (DE-588)118594206  |2 gnd  |9 rswk-swf 
648 7 |a Geschichte 1936-1946  |2 gnd  |9 rswk-swf 
653 1 |a Picasso, Pablo / 1881-1973 
653 1 |a Maar, Dora 
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689 0 2 |a Geschichte 1936-1946  |A z 
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Datensatz im Suchindex

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spelling Mallen, Enrique 19XX- Verfasser (DE-588)130230073 aut
Pablo Picasso and Dora Maar a period of conflict (1936-1946) Enrique Mallen
Brighton ; Chicago ; Toronto Sussex Academic Press 2021
xv, 364 Seiten 1 Karte 25 cm
txt rdacontent
n rdamedia
nc rdacarrier
Although Pablo Picasso spotted Dora Maar in a café in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, "It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora...On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same café in the company of the surrealist poet Paul Éluard, who knew her, the poet introduced her to Picasso" (Brassaï, a.k.a. Gyula Halász, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artist's life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists' revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picasso's own inner torments during these troubled years--back cover
Maar, Dora 1907-1997 (DE-588)119167492 gnd rswk-swf
Picasso, Pablo 1881-1973 (DE-588)118594206 gnd rswk-swf
Geschichte 1936-1946 gnd rswk-swf
Picasso, Pablo / 1881-1973
Maar, Dora
Picasso, Pablo 1881-1973 (DE-588)118594206 p
Maar, Dora 1907-1997 (DE-588)119167492 p
Geschichte 1936-1946 z
DE-604
spellingShingle Mallen, Enrique 19XX-
Pablo Picasso and Dora Maar a period of conflict (1936-1946)
Maar, Dora 1907-1997 (DE-588)119167492 gnd
Picasso, Pablo 1881-1973 (DE-588)118594206 gnd
subject_GND (DE-588)119167492
(DE-588)118594206
title Pablo Picasso and Dora Maar a period of conflict (1936-1946)
title_auth Pablo Picasso and Dora Maar a period of conflict (1936-1946)
title_exact_search Pablo Picasso and Dora Maar a period of conflict (1936-1946)
title_exact_search_txtP Pablo Picasso and Dora Maar a period of conflict (1936-1946)
title_full Pablo Picasso and Dora Maar a period of conflict (1936-1946) Enrique Mallen
title_fullStr Pablo Picasso and Dora Maar a period of conflict (1936-1946) Enrique Mallen
title_full_unstemmed Pablo Picasso and Dora Maar a period of conflict (1936-1946) Enrique Mallen
title_short Pablo Picasso and Dora Maar
title_sort pablo picasso and dora maar a period of conflict 1936 1946
title_sub a period of conflict (1936-1946)
topic Maar, Dora 1907-1997 (DE-588)119167492 gnd
Picasso, Pablo 1881-1973 (DE-588)118594206 gnd
topic_facet Maar, Dora 1907-1997
Picasso, Pablo 1881-1973
work_keys_str_mv AT mallenenrique pablopicassoanddoramaaraperiodofconflict19361946