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Dora Maar
Dora Maar (November 22, 1907 – July 16, 1997), born ''Henriette Theodora Marković'', was an Argentinian-raised photographer of French and Croatian descent, with further known artistic work in poetry, and painting; she is most widely known as Pablo Picasso's muse of nearly a decade (beginning late 1930s), including for his widely known pieces ''Guernica'' and ''The Weeping Woman''. Maar painted some minor elements of ''Guernica'', and she became better known in the art world via her photographs of the stages of Picasso's execution of the masterwork in his rue des Grands Augustins workshop. After the Picassso years she turned to analysis, and eventually to Roman Catholicism, and is famously quoted as saying, "After Picasso, only God." Maar spent her last years living between Paris and a house that Picasso had given her, in Provence. She displayed her paintings through the 1990s, with a last show two years prior to her death. She died at the age of 89 years in Paris, and is buried alongside family at Clamart Cemetery in Hauts de Seine.
==Early life==
Dora Maar was born Henriette Theodora Marković on November 22, 1907 in Paris; her father, Josip Marković, was a Croatian architect,〔At that time, Croatia was part of the Kingdom of Croatia-Slavonia; see that article for political background.〕 her mother, née Julie Voisin, was of a French Catholic family from Tours.〔Mary Ann Caws, 2000, "A tortured goddess," ''The Guardian'' (online), see (), accessed 22 March 2015.〕 The Marković family left for Buenos Aires, Argentina when the child, known as Theodora, was three years old, so that her father could execute commissions for the Austro-Hungarian Embassy and other prominent buildings there.〔
At school and at home in Argentina, left-handed Theodora was made to write and partake in normal daily activities with her right hand (like most children of her time); despite this regimen, she did her drawing and painting left handed, and she continued this her entire life.〔 There, she also learned to speak Spanish and French fluently, and to read English.〔 Later in life, Maar would confide in her longtime friend and professional colleague, James Lord, that her time in Argentina was less than content—relating her parents marital strife, a lack of personal privacy, and that she viewed her father as unsuccessful (despite decoration by Emperor Franz Josef for his Embassy work).〔〔With regard to the privacy issue, the Caws article cited for this sentence describes Theodora's room as having "a glass door covered by a curtain to the outside, so that she could be spied on at any time and could never be entirely alone." Regarding her father's success, Caws describes Maar's description to James Lord of her father as "the only architect who failed to make a fortune in Buenos Aires".〕
The Marković family returned to Paris in 1926, when Theodora was 19, whereupon she trained at school for photography and thereafter entered the Académie Julian, which was known to offer women "the same training as male students () at the Ecole des Beaux-Arts"; in this same period, Theodora Marković chose the shortening of her name to the form by which she would thereafter be known.〔 During and immediately following her training, Dora Maar spent time on both photography and painting, with an eventual emphasis on photography leading to its full-time pursuit (as a result of encouragements during her training).〔
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