Painting since the 1930s, Gilot was highly influenced by Henri Matisse. Though she was not strictly a core member of the Surrealist group, she was an influential muse to Picasso and an artist moving in the same circles as the European avant-garde and those affiliated with Surrealism. Gilot was certainly no doormat and eventually left Picasso in 1953, taking their two children with her. You can read more about Carrington's incredible life in an earlier Art UK story.įrançoise Gilot is an artist whose career was overshadowed by the dominating presence of her former lover Picasso, who once told her: 'women are either goddesses or doormats'. Later in life, Carrington settled in Mexico where she would obtain citizenship and spend the rest of her life until her death in 2011. In 1944, Carrington published a book Down Below, which (among other things) detailed her experience with mental illness, leading her to spend time in an asylum in Spain. Sculpture by Leonora Carrington (1917–2011) In reality, Carrington was a force of nature who constantly rebelled against what was expected of her. You can learn more about her on the Lee Miller Archives.Īlthough she once said, 'I didn't have time to be anyone's muse', the English surrealist artist Leonara Carrington is often remembered as Max Ernst's lover and muse, whom she first met aged 20.Ī fiercely intelligent, eccentric and free-spirited artist, Carrington quickly drew the attention of Breton, who initially regarded her as the perfect embodiment of the surrealist 'femme enfant' (child woman), essentially meaning a young, beautiful and subservient woman. Today, you can visit Miller's and Penrose's home, Farleys House & Gallery in Chiddingly, East Sussex. Penrose had previously been married to the female Surrealist Valentine Boué.ĭespite her incredibly versatile career, Miller was known as a celebrity chef by the time of her death. Upon returning to Paris she met Roland Penrose, an artist whom she eventually married. Miller set up her own photographic studios in Paris and New York before she relocated to Egypt with her then-husband – the businessman Aziz Eloui Bey. Described as a captivatingly beautiful yet quiet woman, Éluard incarnated ideal femininity for many of the Surrealists.ġ937, photograph by Roland Penrose (1900–1984) It was there where she first acquired her nickname 'Nusch', a pseudonym she kept for the rest of her life. Born Maria Benz in what was then the German Empire, she became involved with members of the Surrealist group after meeting Max Bill in Zurich's Odeon Café. Often described as the muse of Man Ray, Picasso, Magritte and Joan Miró, Nusch Éluard was also an artist and performer. Other female muses who were creating art during the first half of the twentieth century and beyond are also worthy of our attention. Maar, whose versatile career extended over six decades, is worthy of exploration as a creator on the same platform as the most established female artists from the broad movement, such as Meret Oppenheim, Eileen Agar and Dorothea Tanning. Tate's retrospective exhibition ' Dora Maar' (20th November 2019 to 15th March 2020) is part of a resurgent interest in surrealist women that proposes we de-emphasise the label of 'muse' and instead elevate these women to their rightful position of 'artist'.
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