Henriette Theodora Marcovich was brought up in Buenos Aires where her father was a renowned architect and where she began to capture the harrowing verticality of buildings. In 1920, she settled in Paris where she became the assistant of Man Ray, collaborated on fashion photography with Harry Ossip Meerson and portrayed nudes for erotic publications, before opening her own studio in 1935. Her work frequently attributed to Man Ray often featured signature techniques such as contrasting lights and shadows, high-angle or low-angle shots that highlighted Dora Maar’s vertiginous taste for verticality and theatricality and distorted reality. Her experimental shots revealed her intimate anxiety and her troubled relationship with life and its disturbing reality. When she began her love affair with Pablo Picasso in 1936, she put an end to her practice. Another member of the painter’s long list of muses wiped out by the man’s glory, Dora Maar is mostly renowned today because of a cubist portrait that immortalized her as a desperate crying woman, a dismantled and objectified woman. Hopefully, another innovative feminine figure of photography, Lee Miller, depicted Dora Maar in the late 1930s, and thus reestablished her in her very essence and integrity.