Muse in motion: Louisa Treger redefines the creative spark in ‘The Paris Muse’

The idea or notion of a muse has captivated artists, poets, and writers for centuries, often blurring the lines between inspiration, obsession, and sometimes exploitation. Historically, artists placed muses on pedestals, revering them for their beauty, sensuality, and passive influence, yet often overshadowed their stories with their own achievements.

Yet, as author Louisa Treger described in her novel The Paris Muse, a muse is not merely a silent observer or passive force. Instead, she participates actively in the creative process, embodying a powerful entity whose role transcends the superficial.

In her book, Treger reimagines Dora Maar’s life and places Picasso’s most revered lover front and centre, painting her as the innovative and fiercely independent artist she was in her own life, well before and after her tryst with the godfather of abstract.

Reimagining Maar

For Treger, the idea of a muse is far from straightforward. “Muses have evolved throughout history,” she said. “If you go back to ancient Greece, they were goddesses. They were immortal, powerful, and capable of causing great harm if wronged. But over time, particularly by the Renaissance, muses became more passive. Male artists projected their desires and fears onto them.”

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Many view Picasso’s relationship with Maar, who became one of the twentieth century’s most famous muses, through this misconception of what a muse truly is. He, the genius; she, the inspiration. Yet, Maar was far more than just a muse. “When Dora met Picasso, she was already a highly successful and avant-garde photographer,” Treger said. “Her work had been exhibited at the Museum of Modern Art in New York and the 1936 International Surrealist Exhibition in London. She was, in her own right, a household name in the art world.”

Artist in her own right

In The Paris Muse, Treger repositions Dora Maar not as a mere footnote in Picasso’s career but as an equal, both in creative partnership and intellect. Their love affair was undoubtedly stormy, yet also symbiotic. Treger’s novel explores the complexities of their relationship, depicting Maar as a woman who wielded power in ways that defied the traditional expectations of a muse. “She was no damsel in distress,” Treger said. “In fact, Dora seduced Picasso. She was daring, bold, and transgressive, and that’s what intrigued him.”

Maar’s daring move that captivated Picasso

Their infamous first encounter, where Maar provocatively sliced her own hand with a knife in a café simply to get Picasso’s attention, sets Maar up as the lead in the romance. “She knew Picasso had a reputation with women,” Treger said. “But she was never intimidated. She peeled off her black gloves, slowly revealing her long, painted nails, and then, in a dramatic act, began stabbing a penknife between her fingers faster and faster, cutting herself in the process. Picasso was entranced. He begged for her bloodstained glove.” From that moment on, the deal was sealed.

Despite the dominance Maar exhibited at the beginning of their relationship, Picasso gradually shifted the balance of power in his favour. His darker, obsessive side began to emerge, Treger said, with Maar’s identity as an artist gradually eroding as he consumed her world. “Later in their pairing, Picasso painted Dora in a state of disintegration,” Treger said. “In his famous Weeping Woman series, she barely looks human. These portraits reflected his own torment and often responded to the emotional strain he inflicted on her,” she said.

Powerful influence over Picasso

Treger also touches on broader themes of the relationship between muse and artist. “I think the role of the muse is particularly problematic for women who were artists themselves, like Maar, Elizabeth Siddal, or Camille Claudel,” Treger said. “These women found themselves trapped between being artistic equals and being reduced to mere inspirations for their male counterparts.”

Treger’s fascination with strong women runs through her three previously published novels. In her debut, The Lodger, she introduced readers to strong women who defied societal norms, while her second, Mad Woman, focused on a female investigative journalist. The Dragon Lady followed. “I never set out to write about strong women deliberately, but the more I write, the more this theme emerges. I’m drawn to pioneers, to women who didn’t conform and who suffered for it but achieved extraordinary things despite their struggles.”

Maar fits this narrative. She manifested the power of a muse, Treger said. “Dora was the only one of Picasso’s mistresses who was his intellectual equal. She challenged him, encouraged him to become more politically engaged, and was instrumental in creating Guernica, Picasso’s anti-war work. Her influence extended beyond their personal relationship; she was a crucial part of his artistic process. Dora deserves to be remembered for her own contributions to art, not just for the tears she shed for him.”

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