拍品詳情
Dora Maar
1909-1997
SILENCE
photograph after a photomontage, the photographer's estate stamp and pencil sketches in an unidentified hand on the reverse, 1935-36
11 1/2 by 9 in. (29.2 by 22.9 cm.)
參閱狀況報告
參閱狀況報告
11 1/2 by 9 in. (29.2 by 22.9 cm.)
來源
Estate of the photographer
Piasa, Drouot Richelieu, Paris, Les Photographies de Dora Maar, 20 November 1998, Lot 119
展覽
New York, Dorsky Gallery, Dora Maar, Photographer, 2004
出版
Mary Ann Caws, Picasso's Weeping Woman: The Life and Art of Dora Maar (Boston, 2000), p. 75
相關資料
Photomontage was a technique adopted by the Surrealists for its ability to create new realities, and Dora Maar used it to great effect. In many of her photomontages, Maar repurposed subjects from her street photographs to produce novel compositions. In the present work, three figures are set against the photographically inverted vaults of the Orangeries at Versailles. These vaults were used in another of Maar’s famously disturbing images, The Simulator. The present image’s inexplicably curved ‘floor,’ gravity-defying figures, and the ominous admonishment ‘Silence,’ inscribed upon the wall, combine to create an unsettling atmosphere. This is an image of dreams, the sovereign domain of the Surrealists.
During the 1930s, Maar created a number of memorable Surrealist images, including street scenes, portraits, and photomontage, among them the photograph offered here. Her 1936 photograph of an armadillo fetus, Père Ubu, became a Surrealist icon. All of these share Maar’s fascination with the unexplained and the unusual. Maar was heavily involved in the Parisian art scene and was a vital participant in the inner circle of Surrealists that included André Breton, Paul Eluard, Georges Bataille, Georges Hugnet, and Man Ray, for whom she served as a model.
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