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Derrière l'objectif avec Dora Maar.
Photographe, peintre, artiste engagée... Découvrez notre #ExpoDoraMaar à partir du 5 juin !
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Behind the lens with Dora Maar.
Photographer, painter, engaged artist... Discover our Dora Maar exhibition June 5th!
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#CentrePompidou #ModernArt #Photography #Exhibition #DoraMaar
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Dora Maar
Sans titre
1935
Épreuve gélatino-argentique
23,2 x 15 cm
Achat grâce au mécénat
d’Yves Rocher, 2011.
Ancienne collection
Christian Bouqueret
Collection Centre Pompidou, Paris
Musée national d’art moderne
Centre de création industrielle
© Adagp, Paris 2019
Photo credit © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP
Derrière l'objectif avec Dora Maar.
Photographe, peintre, artiste engagée... Découvrez notre #ExpoDoraMaar à partir du 5 juin !
-
Behind the lens with Dora Maar.
Photographer, painter, engaged artist... Discover our Dora Maar exhibition June 5th!
-
#CentrePompidou #ModernArt #Photography #Exhibition #DoraMaar
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Rogi André
Dora Maar
vers 1937
Épreuve gélatino-argentique
29,9 x 39,4 cm
Achat en 1983
Collection Centre Pompidou, Paris
Musée national d’art moderne
Centre de création industrielle
© DR
Photo © Centre Pompidou,
MNAM-CCI / Georges Meguerditchian / Dist. RMN-GP
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“Less time than it takes to say it, less tears than it takes to die; I've taken account of everything,
there you have it. I've made a census of the stones, they are as numerous as my fingers and some
others; I've distributed some pamphlets to the plants, but not all were willing to accept them. I've
kept company with music for a second only and now I no longer know what to think of suicide, for
if I ever want to part from myself, the exit is on this side and, I add mischievously, the entrance, the
re-entrance is on the other. You see what you still have to do. Hours, grief, I don't keep a
reasonable account of them; I'm alone, I look out of the window; there is no passerby, or rather no
one passes (underline _ passes). You don't know this man? It's Mr. Same. May I introduce Madam
Madam? And their children. Then I turn back on my steps, my steps turn back too, but I don't
know exactly what they turn back on. I consult a schedule; the names of the towns have been
replaced by the names of people who have been quite close to me. Shall I go to A, return to B,
change at X? Yes, of course I'll change at X. Provided I don't miss the connection with boredom!
There we are: boredom, beautiful parallels, ah! how beautiful the parallels are under God's
perpendicular.” -
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- ANDRÉ BRETON, ‘Less Time’ -
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PABLO PICASSO, ‘Portrait of Dora Maar’, 1937. @museepicassoparis -
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#pablopicasso #artistandmuse #doramaar #surrealforreal #theweepingwoman #midsummernightdream #andrebreton #poemfortheday
Настоящее имя Доры — Теодора Генриетта Маркович (1907–1997). В 19 лет стала посещать студию художника Андре Лота, где познакомилась с крупными мастерами фотографии — Анри Картье-Брессоном, Брассаем и Мэном Рэем. Дора Маар буквально ворвалась в столицу мирового искусства, которой тогда был Париж, фотографируя для моды и рекламы, создавая оригинальные светские портреты и сюрреалистический фотомонтаж. Она фотографировала калек в Лондоне и слепых в Барселоне, клошаров в Париже и жонглеров в Лиссабоне, подчеркивая причудливость и гротескность жизни.
Collecter les statistiques #DORAMAAR effectuez une recherche à l'obtention des statistiques (Aller à la sélection).