La surface et la chair Madame d'Ora,
Vienne-Paris, 1907-1957

Between the recording, often considered futile, of the surface and the ornaments that came to cover it (choice of clothes, enhancement of the beauty and glamor of the models) and that of the miseries of the world, of bodies, including in their most raw, the flesh, the photographer Madame d’Ora performs a fascinating aesthetic back-and-forth. If she remains attentive to artists or personalities of a unique modernity bringing together the Vienna of Klimt and the Paris of the avant-gardes in the interwar period, Madame d’Ora does not become less, after the Second World War , the witness who photographs the human disasters affecting his country of origin, Austria, ravaged by Nazism.