Wow, Luka. I put aside some time tonight especially to read this as I saw it was going to be a long read - and it absolutely did not disappoint!
I am definitely guilty of only really knowing about Lee Miller and Dora Maar through their respective links to Picasso. So it was really great how you put a focus on them as individuals here, and I am already hoping you do a full deep dive into Lee Miller's life at some point!
Also, I'm embarrassed to say I knew next to nothing about Kiki - so again, this was a great introduction and I really love that portrait of her by Constant Detré.
Plus it has reconfirmed for me why I've always had a fairly negative opinion of Man Ray too. (But obviously will never admit that if I am ever in Philadelphia!)
This subject of Muses in art feels like really fertile ground though. Not just in surrealism - but this has got me thinking of the relationships between so many others too i.e Jane Morris working with Dante Rosetti, or Gwen John collaborating with Rodin (and actually, vice versa too . . . Rodin himself was a bit of a muse to Gwen John in many ways!)
I mean, even Leonardo da Vinci technically had his muse with his pupil Salai . . . the young man who is said to have modelled for his famous John the Baptist painting, and ended up inheriting most of Leonardo's possessions after the great man died.
And in all of these cases, I think it is much like you describe with Dora Maar and Guernica too . . . i.e we too often forget that some really profound masterpieces only exist at all because there is a person to inspire them, along with the artist who creates them.
Anyway, there is a lot more I could say here - but I am conscious that this comment may already be spectacularly too long.
So to finish for now, thanks again for another brilliant article and for putting so much into your essays.
Well first off, thank you so much for taking the time to comment. You know, I usually set aside time in the morning to read your posts. I like to read while I drink my morning tea. And I didn't get a chance to comment on how much I LOVE LOVE LOVED your recent post on Van Gogh, but of course I think we've mentioned how we both feel about Vincent and his struggle with mental health. I thought you handled it marvelously.
AND if you ever decide to go to Philadelphia (you should) (largest collection of Impressionist Art!!), naturally you wouldn't ever want to say a bad thing about Man Ray's work. It's unfortunate such talent would be attached to someone who could behave so terribly. (also if you ever think to go tell my straightaway!) (you should) (everyone should)
I actually completely forgot Lee posed for Picasso until you mentioned it, and it's sad but a lot of what I've found on Dora Maar is just about Picasso, not her. I think that's starting to change, but it's pretty frustrating. I even like the portraits he did of both women, too.
And if it makes you feel better I knew nothing of Kiki until recently when I came upon a biography on her. I was curious and took the plunge.
You're absolutely right about muses. It's a very complex topic. I wonder how one can manage a muse-artist relationship in a healthy manner. Evidently the ones I wrote about didn't have the healthiest relationships with the men they inspired, but I don't think it's an impossible feat. J.C. Leyendecker, for example, painted his muse and lover again and again and they had a long lasting relationship. Coles Phillips considered his wife his muse and painted her in his illustrations, and I've never heard a bad thing about their relationship. So theoretically it's possible, though maybe I'm speaking more from lack of information.
It's curious though isn't it? We all need each other to inspire one another but how does one manage to do so without entering into toxic or even mildly abusive territory? How can one find the balance? At what point does it cross a line? I could maybe contemplate this for months without a concrete answer haha.
What a great article Luka! I only finished reading it now as it was a long but fascinating. Thank you for always bringing interesting anecdotes in your writing.
Sadly, when I was taught art history Lee Miller and Dora Maar were merely described as muses, and they were more in the shadow of their male counterparts. Like you, I’m glad to see a shift about it nowadays but it’s taking time.
I’ll read soon your latest piece on Leonora Carrington :)
Wow, Luka. I put aside some time tonight especially to read this as I saw it was going to be a long read - and it absolutely did not disappoint!
I am definitely guilty of only really knowing about Lee Miller and Dora Maar through their respective links to Picasso. So it was really great how you put a focus on them as individuals here, and I am already hoping you do a full deep dive into Lee Miller's life at some point!
Also, I'm embarrassed to say I knew next to nothing about Kiki - so again, this was a great introduction and I really love that portrait of her by Constant Detré.
Plus it has reconfirmed for me why I've always had a fairly negative opinion of Man Ray too. (But obviously will never admit that if I am ever in Philadelphia!)
This subject of Muses in art feels like really fertile ground though. Not just in surrealism - but this has got me thinking of the relationships between so many others too i.e Jane Morris working with Dante Rosetti, or Gwen John collaborating with Rodin (and actually, vice versa too . . . Rodin himself was a bit of a muse to Gwen John in many ways!)
I mean, even Leonardo da Vinci technically had his muse with his pupil Salai . . . the young man who is said to have modelled for his famous John the Baptist painting, and ended up inheriting most of Leonardo's possessions after the great man died.
And in all of these cases, I think it is much like you describe with Dora Maar and Guernica too . . . i.e we too often forget that some really profound masterpieces only exist at all because there is a person to inspire them, along with the artist who creates them.
Anyway, there is a lot more I could say here - but I am conscious that this comment may already be spectacularly too long.
So to finish for now, thanks again for another brilliant article and for putting so much into your essays.
Well first off, thank you so much for taking the time to comment. You know, I usually set aside time in the morning to read your posts. I like to read while I drink my morning tea. And I didn't get a chance to comment on how much I LOVE LOVE LOVED your recent post on Van Gogh, but of course I think we've mentioned how we both feel about Vincent and his struggle with mental health. I thought you handled it marvelously.
AND if you ever decide to go to Philadelphia (you should) (largest collection of Impressionist Art!!), naturally you wouldn't ever want to say a bad thing about Man Ray's work. It's unfortunate such talent would be attached to someone who could behave so terribly. (also if you ever think to go tell my straightaway!) (you should) (everyone should)
I actually completely forgot Lee posed for Picasso until you mentioned it, and it's sad but a lot of what I've found on Dora Maar is just about Picasso, not her. I think that's starting to change, but it's pretty frustrating. I even like the portraits he did of both women, too.
And if it makes you feel better I knew nothing of Kiki until recently when I came upon a biography on her. I was curious and took the plunge.
You're absolutely right about muses. It's a very complex topic. I wonder how one can manage a muse-artist relationship in a healthy manner. Evidently the ones I wrote about didn't have the healthiest relationships with the men they inspired, but I don't think it's an impossible feat. J.C. Leyendecker, for example, painted his muse and lover again and again and they had a long lasting relationship. Coles Phillips considered his wife his muse and painted her in his illustrations, and I've never heard a bad thing about their relationship. So theoretically it's possible, though maybe I'm speaking more from lack of information.
It's curious though isn't it? We all need each other to inspire one another but how does one manage to do so without entering into toxic or even mildly abusive territory? How can one find the balance? At what point does it cross a line? I could maybe contemplate this for months without a concrete answer haha.
And, as always, thank you.
Oh, I absolutely love this! 🩷
Thank you :)
What a great article Luka! I only finished reading it now as it was a long but fascinating. Thank you for always bringing interesting anecdotes in your writing.
Sadly, when I was taught art history Lee Miller and Dora Maar were merely described as muses, and they were more in the shadow of their male counterparts. Like you, I’m glad to see a shift about it nowadays but it’s taking time.
I’ll read soon your latest piece on Leonora Carrington :)