A breath-taking fashion show, where the haute couture of Dior and Surrealist women artists formed a majestic live exhibition in Paris.

Dora Maar’s “Double Portrait,” 1930s, made with double exposure photograhy.

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Dora Maar is mostly remembered as Picasso’s muse and lover, but his portrait of her as the Weeping Woman, bordering on madness, detracts from her singular work as a prominent photographer of the surrealist movement. Henriette Théodora Markovitch was born to a French mother and...

Maar's photographic experiments reject the pretense of naturalism in straightforward photography and attempt to achieve something much deeper than resemblance.

MAN RAY (1890-1976), Dora MAAR (1907-1997), and Paul ELUARD (as 'Didier Desroches'; 1895-1952). Le Temps déborde. Paris: Cahiers d'Arts, 1947. 4° (247 x 185mm). Frontispiece and 10 illustrations after photographs by Man Ray and Dora Maar. Original printed wrappers (small chips at spine ends); in early, possibly contemporary glassine (chipped at the spine, browned); blue morocco clamshell case, unsigned but by Cambras, and blue cloth chemise.

The erotic, the exaggerated and the elegant are interwoven in all the accounts of Dora Maar’s meeting with Picasso in 1936. Here is Jean-Paul Crespelle’s version of the tale. Picasso is with his friend Paul Eluard at the Cafè des Deux Magots, where he notices a beautiful, intense-faced brunette seated at a neighbouring