Dora Maar: A Spiral of Expression - Art Review

A Spiral of Expression

The Getty Center, located on the west side of Los Angeles, is having a photography exhibit entitled In Focus: Making A Scene from June 30th through October 18th, 2009. The main goal of this exhibit is to showcase several photographers over the years that used fictional elements within their artwork. Beginning in the late 1800s and ending in the 1980s each photograph depicts different art movements, the influence of other mediums such as film and painting as well as the evolution of dark room effects within photography. A wide range of photographers are shown, mostly well known, however one piece in particular stood out among all the rest as a perfect example of using fictional elements within the art medium, photography. Dora Maar’s Le Simulateur, The Simulator or The Pretender, taken and produced in 1936 not only catches the eye of the viewer but engages the audience in a way that none of the other photographs have. Maar, a French surrealist, uses experimental techniques and winding composition in order to send the viewer to a land of distorted imagination, pushing the psyche by not only testing the limits but also by questioning the possibility of an opposing reality. The idea of this, seemingly off putting, attracted most of the museum goes, who huddled around the photograph as if it were the only one in the room. I expected to see a well known photographer’s piece when I finally got a glimpse, but was surprised to see that the artists was known for another reason, being Pablo Picasso’s muse. (McQuillan)

Dora Maar was born in Tours, Western France on November 22, 1907 as Henriette Theodora Markovitch. Her father Josip Markovic was Croatian and a famous architect in South America; her mother was Julie Voisin, and was French. Maar grew up primarily in Argentina speaking fluent Spanish as well French. In 1926 she went to study in Paris at the Union Centrale des Arts Decoratifs, Ecole de Photographie and the Academie Julien. Her primary focus was in painting, photography and poetry. Maar became associated with the Surrealist Movement in the mid-1930’s and made a name for herself by posing as Pablo Picasso’s muse for nine years, documenting his famous painting Guernica and participating in political exhibitions with fellow surrealist. Unfortunately, she is mostly known for her work as the ‘weeping woman’ coined by Picasso and not by her artistic talents. She has been described as a “dark beauty” attracting those, including Picasso, because of her theatrical behavior, mutilating violence and unmistakable talent. (Latimer) Through her career these defining attributes seem to seep into her work adding texture and substance.

During the time of this piece, 1936, the Surrealist Movement was at its height. Dadaism, surrealism’s predecessor, was an art form that emphasized the absurd and illogical as well as mocking art in general but surrealism took it one step further conveying an abnormal world as reality. Surrealist leader Andre Breton, a famous writer, defined the name in 1924 in the Surrealist Manifesto. Here Breton defines it as,

“Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.” (Ades & Gale) This came out of psychology, Sigmund Freud in particular, creating a movement in art, music, literature and politics. Themes within a surrealist work include dreams, childhood, madness, and elements of surprise and an irrational display of juxtaposing images. Dora Maar surrounded herself with some of the most influential surrealist: Salvador Dali, Man Ray, Pablo Picasso (although mostly known for Cubism) and Marcel Duchamp. (Foresta)

Le Simulateur, which Maar finished in 1936, is considered a surrealist piece. The photograph seems to almost be a painting because of its abnormal qualities and exquisite lighting. Dora Maar made most of her photographs come to life in the dark room where she was able to manipulate images and experiment with composition. In this particular photograph, Maar has overlapped two images in order to create the finished product. This process takes some time in order to get the images lined up just right as well as keeping the integrity of the images in tact. One of the most difficult parts of layering negatives is figuring out the exposure time in order to make the layering process seamless. What was created with this process was a maddening exploration of human capabilities.

At first glace the photograph jumps out because of the circular lines, contrast and unusual position of it’s subject. My eyes instantly go to the boy, off centered, and bent backwards looking at the viewer. One of the lightest points of this picture is the boy’s legs and torso, which are both twisted. Another area that is lit and pulls the eye is the section of the building’s roof where it begins to spiral. What this does to the viewer is it causes s/he to spiral towards the right, into the photograph. Maar has taken us into this world just by creating lines that suck you in. The shock factor that is incorporated in most surrealist work is evident through the boy’s position, which has him twisted upside down, defining gravity. Our mind wanders because only in our dreams can we walk on the ceiling like this boy. His face turned towards us, daring the viewer to try it. Pools of light make there way through the background of the photograph showing us that this tunnel goes on. We are left questioning, how many other children are hanging from the walls? This world that she has created does not end when we come around the corner it goes on.

The name of the piece stood out for me as well. The Pretender (or simulator) can express many different ideas. The concept of pretending is an extremely powerful one. As children we pretend in order to transport our selves to another place and time, one in which anything is possible. We pretend because, in this world there are rules and laws that hold us back. What if we were to pretend that our dreams are reality or just a different aspect of it? I think Maar is exploring the idea of simulating an alternative reality. She dares you to do what she has done both in art and in life.

Dora Maar’s Le Simulateur was incorporated into the exhibit Making a Scene for many reasons. Her subject, location and mood that are portrayed within the piece all make for a dream like reality, although seemingly real, are a work of fiction. This is a great example of how painting and dramatic storytelling can influence an artist. The Getty Center, where this exhibit took place, is located in the land of fiction, Los Angeles.

The Getty opened its doors on December 16, 1997 and their primary focus is on European and American paintings, drawings, photography, sculpture and decorative arts, with examples of modern landscaping as well as architecture. The Getty, although a younger museum, emphasizes education, research and conservation. The staff at this museum, “strives to provide its visitors with access to the most innovative research in the visual arts while they enjoy a unique experience in viewing works of art…” (Getty) So it comes as no surprise that they would strive for innovative and unique exhibits such as this one.

What a perfect exhibit for a place where film, a mostly fictional based medium, lives. The magic in movies can be made by some of the same effects shown in this exhibit. Having a photograph within a film that can tell the story without words or explanation can carry that piece so much further then without it. When I saw this piece I was instantly inspired. The dream/nightmare aspect to the photograph is intriguing and created millions of stories in my head. As a filmmaker, having an image that can express this much can save pages of tedious dialogue. This exhibit reminded me of the importance every image has in the photography of a film. Dora Maar proves that your only limit is yourself. This exhibit also gives a history for future artist in how art can inspires more art, which can be interpreted within different mediums. Storytelling and causing the viewer to engage with the piece is the goal, no matter what art form you are using.

Dora Maar has displayed what it is to be a surrealist. There is an element of surprise, unusual subject matter set in a dream like world. She uses experimentation in order to cause the viewer to think differently about life and their surroundings. The expectations of reality are exceeded by the juxtaposition between the subject and it’s setting. Maar displays a philosophical dilemma digging into the subconscious in order to create meaning. She captures the story, different to all its viewers, within one photograph. Questions arise in the mind, beauty comes out of distortion and our reality shifts. The line between what is real and what is not meld, what is left is the imagination.






Works Cited
Ades, Dawn and Gale, Matthew. "Dada." Grove Art Online. Oxford Art Online. 22 Jul. 2009 http://0-www,oxfordartonline.com.library.academyart.edu:80/subscriber/
article/grove/art/T021094

Ades, Dawn and Gale, Matthew. "Surrealism." Grove Art Online. Oxford Art Online. 22 Jul. 2009 http://0-www.oxfordartonline.com.library.academyart.edu:80/subscriber /article/grove/art/T082410

Foresta, Merry A. "Man Ray." Grove Art Online. Oxford Art Online. 22 Jul. 2009 http://0-www.oxfordartonline.com.library.academyart.edu:80/subscriber/
article/grove/art/T053862

Latimer, Tirza. "Maar, Dora." Grove Art Online. Oxford Art Online. 22 Jul. 2009 http://0- www.oxfordartonline.com.library.academyart.edu:80/subscriber/article/grove/art/ T2021794

McQuillan, Melissa. "Picasso, Pablo." Grove Art Online. Oxford Art Online. 22 Jul. 2009 http://0-www.oxfordartonline.com.library.academyart.edu:80/subscriber/
article/grove/art/T067316

The Getty. The J. Paul Getty Trust. 1 Aug 2009. http://www.getty.edu/