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Dora Maar also met Louis-Victor Emmanuel Sougez, a photographer working for advertising, archeology and artistic director of the newspaper L'Illustration, whom she considered a mentor. During this time working in advertising and fashion photography, the influence of Surrealism could occasionally be seen in her work. She felt that art should represent the content of reality through links with intuitions or ideas, rather than visually reproduce the natural.

Surrealist concepts and interests often alined with the ideas of the political left of the time and so Maar became very politically active at this point in her life. After the fascist demonstrations of 6 February 1934, in Paris along with René Lefeuvre, Jacques Soustelle, supported by Simone Weil and Georges Bataille, she signed the tract "Appeal to the struggle" written at the initiative of André Breton. Much of her work is highly influenced by leftist politics of the time, often depicting those who had been thrown into poverty by the depression. She was part of an ultra-leftist association called “Masses,” where she first met Georges Bataille, an anti-fascist organization called "The Union of Intellectuals Against Fascism" and a radical collective of left-wing actors and writers called October.

At the beginning of 1930, she set up a photography studio on rue Campagne-Première (14th arrondissement of Paris) with Pierre Kéfer, photographer, and decorator for Jean Epstein's 1928 film, The Fall of the House of Usher. In the studio, Maar and Kefer worked together mostly on commercial photography for advertisements and fashion magazines. Her father assisted with her finances in this period of her life as she was establishing herself while trying to earn a living.

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Her liaison with Picasso, who physically abused her and made her fight Marie-Therese Walter for his love, ended in 1943, although they met again episodically until 1946. Thus, on 19 March 1944, she played the role of Fat Anguishin the reading, at the home of Michel Leiris, of Picasso' first play, Desire Caught by the Tail, led by Albert Camus. In 1944, through the intermediary of Paul Éluard, Dora Maar met Jacques Lacan, who took care of her nervous breakdown by administering her electroshocks, which were forbidden at the time. Picasso bought her a house in Ménerbes, Vaucluse, where she retired and lived alone. She turned to the Catholic religion, met the painter Nicolas de Staël(who lived in the same village), and turned to abstract painting.

Although Maar is mostly remembered as one of Picasso's lovers, there have been many recent exhibits presenting her as an artist in her own right, including exhibitions at the Haus der Kunst, Munich, 13 October 2001 – 6 January 2002; the Centre de la Vieille Charité, Marseille, 20 January – 4 May 2002; and the Centre Cultural Tecla Sala, Barcelona, 15 May – 15 July 2002.