Author: arturo

The commencement of Dora Maar’s relationship with Pablo Picasso in 1936 is often regarded as a critical juncture that not only altered her personal life but also signified the culmination of her burgeoning artistic career.

During this period, Maar, a young and highly talented photographer, was establishing herself as a rising star within Surrealist circles. Notably, her photograph “Père Ubu” (1936) had become an emblematic representation of the Surrealist movement after its exhibition at the prestigious International Surrealist Exhibition in London.

However, under the sway of Picasso, an older and celebrated artist, Maar gradually abandoned her pursuits in photography, a medium Picasso perceived as inferior. His famous assertion, “inside every photographer is a painter trying to get out,” seemed to guide Maar’s artistic transition towards painting. The formidable shadow cast by Picasso’s stature in art history inevitably eclipsed Maar’s individual narrative. For an extended period, she was primarily remembered as the muse behind Picasso’s renowned “Weeping Women” series. It wasn’t until her passing in 1997 that art historians could delve comprehensively into Maar’s extensive body of work. Following her separation from Picasso in 1946, Maar began a gradual withdrawal from public life, resulting in her fading into relative obscurity by the time of her death.

Contrasting starkly with her later years of seclusion, Maar’s early days in Paris presented a different portrait of the artist. Born to a French mother and a Croatian-born architect father, she experienced a nomadic upbringing, shuttling between Paris and Buenos Aires. In 1926, at the age of 19, Maar’s family settled in the French capital. There, she immersed herself in serious art studies, attending André Lhote’s atelier alongside luminaries like Henri Cartier-Bresson. She also enrolled in institutions such as the École de Photographie de la Ville de Paris, the Union Centrale des Arts Décoratifs, and the Académie Julian. Although initially dividing her focus between painting and photography, Maar decisively dedicated herself to the latter by the 1930s.

The narrative of Dora Maar, shaped by the complexities of her relationship with Picasso and the subsequent overshadowing of her own artistic contributions, is a fascinating tale of a woman caught between personal influences and artistic pursuits.

Ana Mendieta, a Cuban-American artist born on November 18, 1948, in Havana, was a multifaceted creative force specializing in performance art, video, and sculpture. Central to her artistic exploration was the interplay between the female form and the natural world. Among her most captivating works are those featuring photographs and video footage capturing her body blended seamlessly into natural surroundings, exemplified in pieces like “Untitled (Silueta Series Mexico)” (1973–1978).

At the age of 12, Mendieta immigrated to the United States, escaping the oppressive Castro regime in Cuba, leaving her parents behind. Her nomadic early life profoundly influenced her artistic endeavors, with much of her work reflecting a poignant longing for her homeland. Explaining the connection between herself and nature in her art, she stated, “My exploration through my art of the relationship between myself and nature has been a clear result of my having been torn from my homeland during my adolescence. It is a way of reclaiming my roots and becoming one with nature.”

Mendieta pursued her academic journey, earning an MA in painting and an MFA in intermedia from the University of Iowa. After completing her degrees, she relocated to New York, where she crossed paths with her future husband, Minimalist sculptor Carl Andre. Tragically, Mendieta passed away at the age of 36 on September 8, 1985, falling from the 33rd floor of a Greenwich Village building. Although Andre was initially considered the sole suspect in her untimely death, he was later acquitted.

In 2005, the Des Moines Art Center in Iowa curated the exhibition “Ana Mendieta: Earth Body, Sculpture and Performance 1972–85,” garnering critical acclaim. Today, her impactful works are showcased in esteemed institutions such as the Solomon R. Guggenheim Museum in New York, the Art Institute of Chicago, and the Centre Georges Pompidou in Paris. Mendieta’s artistic legacy, intertwined with her advocacy for women’s rights, endures as a testament to her enduring impact and the personal sacrifices she made for her art. Notable pieces like “Untitled (Facial Hair Transplants)” (1972) not only explore power dynamics through hair transfer but also echo childhood memories of her grandmother playfully using Mendieta’s long braids as a mustache, portraying imaginary characters.

The love story of Edward Hopper and Josephine Nivison is one of contradictions – a passionate union that fueled artistic greatness but also obscured the individual talent of one partner. Despite the challenges and conflicts, their intertwined lives left an indelible mark on the art world, creating a narrative that goes beyond canvas and paint.

In 1924, at the age of 41, New Yorker Josephine (Jo) Nivison married Edward Hopper. Her diverse background included roles as a teacher, actor, and participation in New England art colonies. Jo was not only accomplished but a successful artist, featured alongside luminaries like Man Ray, Modigliani, and Picasso. This success allowed her to make a living by selling sketches to newspapers.

On the other hand, Edward Hopper faced artistic obscurity. Jo’s support came to the forefront when six of her watercolors were selected for an exhibition, leading to Hopper’s first painting sale in a decade. Over the following years, Hopper’s career soared while Jo’s declined, seemingly overshadowed by his success.

Jo’s presence in Hopper’s paintings became iconic, embodying various roles in lonely urban scenes. She was the constant female figure in Hopper’s depictions, from the sun-drenched lady in “Summertime” (1943) to the pensive usherette in “New York Movie” (1939). The Hoppers, living in a tiny Manhattan apartment, embodied the cliché of a tempestuous relationship, marked by violence, as noted in Jo’s diaries.

Despite the challenges, Jo played a crucial role behind the scenes, cataloging Hopper’s paintings and adding her own comments. She passed away in 1968, a year after her husband, and many of her paintings were initially thought lost. However, a recent acquisition by the Provincetown Art Association and Museum brought together 96 of Hopper’s works and 69 drawings and watercolors by Jo, showcasing their collected works for the first time.

The love story of Edward Hopper and Josephine Nivison is a complex narrative, intertwining passion, creativity, and conflict. Their relationship, defined by a profound artistic connection, propelled Hopper’s career while casting a shadow over Nivison’s individual talents. Despite the challenges, their lives have left an indelible mark on the art world, transcending canvas and paint.

Two titans “As different as the north pole is from the south pole” is how Matisse described Picasso and himself to Gertrude Stein when they first met. He hit on a particularly dodgy paradox, for although the North and South Poles are antitheses, the icescapes surrounding them are indistinguishable.

Years Later Picasso said “When one of us dies, there will be some things that the other will never be able to talk of with anyone else.”

Their art was a unique dialogue and a wonderful match between two great Masters, like comparing white wine to red wine, Superman to Batman, Mozart to Haydn or Mickey Mouse to Donald Duck. 

When Scorpio Picasso and Capricorn Matisse make an art match, they get an opportunity to not only enjoy a creative relationship and learn the value of being a pair, but also to grow and mature as individuals. These two may be wary about sharing themselves with one another at first, and this emotional caution may dampen the initial impact of this relationship. These two tend to be a bit cautious (Matisse) and pensive (Picasso), and it takes a while for them to feel comfortable with a significant other. Though they may be shy of getting involved and not the quickest to trust and share, these two Masters will discover that they can have quite a profound connection — one of friendship and deep loyalty.

Much can be learned when Picasso and Matisse get together — and the lessons they learn, while difficult at times to endure, are worth the trouble they might cause. From their stable, capable Matisse mate, Picasso can learn to bring their overheated emotions into control. Matisse must be careful, though, not to seem too emotionally shallow when leveling any criticism on their sensitive art. Detached comments can backfire with Picasso: He desires depth, intense feeling and the utmost in sincerity in all situations — most especially in art! Matisse, so busy with achieving and with how others perceive them sometimes fails to take a chance with his emotions. From Picasso, Matisse will learn the value of looking below the surface of things, the rich pleasure that can come from deeply knowing another person. Both Masters share a passion of committing to a task. If they decide a relationship is their next big goal to attain, there’s no stopping these two.

The Planets Mars and Pluto rule Picasso, and the Planet Saturn rules Matisse. Mars and Pluto represent aggression, courage, sexual energy, rebirth and renewal. Saturn teaches the great lessons in life — hard work, diligence, ambition and responsibility. These three Planets can combine in the Masters to form an industrious union bound by Picasso’s fierce emotion and Matisse’s ambitious action. This is a dynamic team for business, sure, but all that achieving energy could translate well to affection and art.

Picasso is a Water Sign, and Matisse is an Earth Sign. Earth Masters are all about practical matters, about material possessions. What a good balance, then, for those of the Water element. Water Masters mold to the shape of the situation they’re in and often respond with emotion rather than logic. A match-up of Matisse’s goal-oriented stability and Picasso’s exciting mutability makes for quiet a team — whether they translate to art depends on whether art is their goal. If it is, expect success.

Picasso is a Fixed Sign, and Matisse is a Cardinal Sign. They may not seem the most romantic Signs of the Zodiac, but Matisse’s business and planning savvy could certainly be put to good use in devising elegant. If Matisse shows that much initiative, Picasso will enthusiastically follow along, excitedly, if not a bit smugly, throwing in his own ideas, too. Picasso can toss out some barbed comments under their breath or in such a sexy tone of voice that Matisse might not even notice. An art-minded Sea Goat would do well to listen closely for subtle shades and nuances in their Picasso partner’s voice and pay special attention to body language as well. Both Masters can be stubborn, and this could lead to some potential conflict. Also, Picasso falls hard, emotionally involving himself almost to the point of no return, in stark contrast to the sometimes-distant Sea Goat. Both partners must recognize this and accept it if the relationship is to be successful.

What’s the best thing about the Picasso-Matisse art match? Their determination toward shared ideas and their strong devotion to one another. They can open doors to one another’s souls and show one another new ways of perceiving and feeling.