Dora Maar (1909-1997); Villa à Vendre;

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Lot 55
Dora Maar
(1909-1997)
Villa à Vendre

Sold for US$ 75,075 inc. premium

Photographs

5 Apr 2019, 14:00 EDT

New York

The Archives of Galerie Gérard Levy
Dora Maar (1909-1997)
Villa à Vendre, 1936
Gelatin silver photocollage, flush-mounted on card.
14 1/2 x 11 1/8in (37.2 x 28.7cm)

Footnotes

  • Provenance
    Acquired from Dora Maar's circle;
    with Galerie Gérard Lévy, Paris

    Exhibited/ Literature
    Dora Maar, Nonostante Picasso, Palazzo Fortuny, Venice, March 8-July 14, 2014, reproduced in the accompanying exhibition catalogue, p. 75; Somos Plenamente Libres: las Mujeres Artistas y el Surrealismo, Musee Picasso, Malaga, October 9, 2017-28 January 2018, reproduced in the accompanying catalogue, p. 227

    French-Croatian by birth, Dora Maar (actually Henriette Theodora Markovitch) began to study art seriously in 1926 - at André Lhote's atelier, alongside Henri Cartier-Bresson, as well as at the École de Photographie, the Union Centrale des Arts Décoratifs, and the Académie Julian. Maar also became an active member of the Parisian avant-garde, modeling for Man Ray (for one of his most celebrated portraits of the era) and Jean Cocteau. André Breton named his surrealist gallery Gradiva partly in her honor. By the early 1930s, she devoted herself wholly to photography, collaborating with young designer Pierre Kéfer on several commercial projects and at the same time creating significant surrealist imagery in her own right, like this wonderful and exuberant photocollage, Villa à Vendre, lot 55, which she made in 1936. That same year, she disastrously met and fell in love with Pablo Picasso who, nine years later, having included her in a number of his most important paintings, then abandoned her to a fate of mental illness and reclusion. From now on, she gave up photography and devoted herself entirely to painting still lifes and landscapes and refused to exhibit her work. A show at Galerie 1900-2000 in Paris in 1990 reintroduced Maar to a world that had largely forgotten her—or at least considered her simply yet another vaguely creative muse of the Surrealists and Picasso.
    A major retrospective of Maar's work at the Centre Pompidou, Paris, Tate, London and The J. Paul Getty Museum, Los Angeles in 2019 and 2020, to which this work has been loaned, will underscore Dora Maar's enormous contribution to the history of surrealist photography.
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