| 47 WhenDoraMaar(HenrietteTheodora Markovitch) passed awayinParison16th July1997 at the age of 90, fewpeople evennoticed. Frenchnewspaper LeMonde wasthe rsttopublishthenews,tendaysafter thefact.Whenothers republishedthenews, theydidn’tevenmentionDora’soeuvre.That wasn’t thetopicof interest tothem.TheNew YorkTimes dubbedher“Picasso’sMuse”and “themainmodel inhis so-calledportraits of weepingwomen”, andwhileBritishdailyThe Independent at least mentioned that Maar was an artist inher own right, it still pointed out that shewouldneverthelessberemembered as“themost emotional of all of Picasso’s mistresses”. Nevermindthatshewasoneoftheleading photographers of the Surrealist movement,andoneof thefewwomenevenworking in that circle, for critics she has forever remained Picasso’s “Weeping Woman”, forever the rejected and insatiable lover and muse. Dora herself was embittered about this image during her life. “All my portraits that Picasso painted are a lie. None of them is Dora Maar,”she said. But thetimehascomefor the“Weeping Woman”tobetheonewholaughsthesweetest in the end, writes The Guardian in its review of the“Dora Maar”exhibition, which – after the Pompidou Centre in Paris – is now makingaguestappearanceatLondon’sTate Modern Gallery, after which it will move on toLosAngeles.Thebiggest retrospectiveof this artist’s work to date, it includes 300 exhibitedworks:photographs,photomontages, advertisements, self portraits, watercolour works, landscape oil paintings and still life paintings. “It was as if someone had liftedthecurtain.ForgetthosePicassoportraits: here’s how Dora Maar really wanted to be seen,”assessedThe Guardian. Henriette Theodora Markovitch was bornon22nd November1907inTours,France, astheonlydaughterofFrenchboutiqueowner Louise-Julie Voisin from Tours and Croatianarchitect JosipMarković fromSisak.Her familymovedtoBuenosAireswhenshewas three and she spent her childhood travellingbetweenSouthAmericaandEurope.The family returned to Paris in 1926, when Dorawas 19. She began parallel studies of ne arts and photography, but gradually came to focus solely on photography, and opted for the bold step of opening her own professional studio as early as 1931. In honour of that step, she createdanartistic name for herself: DoraMaar. Her studio created commercialworks, fashionphotographyandadvertisements, but all of them showed Dora’s unbridled imagination, sense of playful subversivenessandinnatesenseofhumour withadoseofmorbidity. Inaddition, she also did photography work for erotic magazinesandwasanaccomplisheddocumentaryphotographer.Shewouldalsosometimes stand in front of the lens herself: she posed forManRayandJeanCocteau,butalsophotographed lm sets. “She was able to use a camera skilfully and to create something extraordinary out of everyday things,”says Emma Lewis, curator of the exhibition at theTate. Itwasaround1935whenDorabecame part of a group of Parisian surrealist artists and gained a respectable place in this predominantly men’s club. Her Portrait of Ubu photo, which is most likely an armadillo fetus and which resembles a friar tucked into hishood,wouldgoontobecomeoneof the most famous surrealist images of the time. It was while shewas working as a photographer on the shooting of Jean Renoir’s lmTheCrimeofMonsieurLangein1935that shemetPabloPicasso,althoughhewouldlater admit tonot remembering thatmeeting. That’s why she tried to ensure he’d rememberher thenext time.Shediscoveredthathe oftenvisitedthethenbohemianDeuxMagots café and devised a plan to intrigue him. Journalist Jean-Paul Crespellewas sitting at an adjacent table on that day in 1936, and herecalledher“seriousandrestlessfacelitby lightblueeyesthroughwhichlightandshadowsalternated.Shestuckherpocketknifebetweenheroutstretched ngersonthewooden table. Sometimes she wouldmiss a little and a drop of blood would appear among theembroidered roses onher blackgloves”. When Picasso saw that, he was so fascinated that he took the bloody glove as a keepsake. Recountedmany times, this scenehas already become legendary. Whether true or not, art historian and DoraMaarbiographerVictoriaCombaliaconsiders it most interesting that it all suggests that Dora was in chargemore than Pablo. The exhibition, which runs at the Tate Modern until 15th March and then moves on to the J. Paul Getty Museum in Los Angeles, shows that “The Weeping Woman” is the one who smiles the most sweetly in the end Izložba u Galeriji „Tejt modern“, koja je otvorena do 15. marta, a potom se seli uMuzej „Džeja Pola Getija“ u Los Anđelesu, pokazuje da je „Uplakana žena“ na kraju ipak ta koja se najslađe smeje Er Srbija leti do Londona 7 puta nedeljno Air Serbia flies to London 7 times a week