Editing Marcel Moore (section)

==Career==
In her early twenties Moore worked as a graphic designer, producing ornate illustrations influenced by the [[japonism]] trend and the Paris fashion scene of the 1910s.<ref name="Heritage" /> Her modern fashion designs were published in the newspaper ''Phare de la Loire'', owned by the Schwob family.<ref name="Women" />  She also collaborated with the poet [[Marc-Adolphe Guégan]], producing illustrations for two of his books: ''L'Invitation à la fête primitive'' (1921) and ''Oya-Insula ou l'Enfant à la conque'' (1923).<ref>{{Cite web|url=http://www.connectotel.com/cahun/guegan-moore.html|title=Illustration by Marcel Moore for Oya-Insula ou l'Enfant à la Conque by Marc-Adolphe Guégan|website=www.connectotel.com}}</ref>

Moore is best known as Claude Cahun's collaborator. Cahun's photographic oeuvre, all but forgotten for a few decades, was rediscovered in the 1980s and interpreted as a predecessor of [[Cindy Sherman]]'s theatrical self-portraits.<ref name="Mirror">{{cite book|last=Chadwick|first=Whitney|title=Mirror Images: Women, Surrealism, and Self-Representation|year=1998|publisher=Massachusetts Institute of Technology|isbn=0262531577|pages=67}}</ref>  However, recent scholarship suggests that Moore was not only a muse but also had an active hand in the creation of some of Cahun's best-known works.  In an essay for the 2005–2006 exhibition ''Acting Out: Claude Cahun and Marcel Moore'' at the Frye Art Museum in Seattle, curator Tirza True Latimer argues that Cahun's photographs are not so much "self-portraits" as collaborations with Moore.<ref name="Acting" />  At times, they photographed each other posing alternately in the same tableau.<ref name="Acting" />  Moore's shadow is visible in some photographs of Cahun, making visible her own role behind the camera.<ref name="Acting" />

Moore illustrated Cahun's creative writing on several occasions.  For Cahun's 1919 poetry volume ''Vues et visions'', Moore created pen-and-ink illustrations similar to the decorative style of Aubrey Beardsley.<ref name="Women">{{cite book|last=Latimer|first=Tirza True|title=Women Together/Women Apart: Portraits of Lesbian Paris|year=2005|publisher=Rutgers University Press|location=New Brunswick, NJ|isbn=0-8135-3594-8|pages=[https://archive.org/details/womentogetherwom00tirz/page/76 76–80, 137–140]|url-access=registration|url=https://archive.org/details/womentogetherwom00tirz/page/76}}</ref>  Moore was the subject of Cahun's dedication, "I dedicate this puerile prose to you, so that the entire book will belong to you and in this way your designs may redeem my text in our eyes."<ref name="Women" /> In 1930 Cahun and Moore published a second book of verses and illustrations called ''Aveux non avenus'' (translated as "disavowed confessions").  Moore's illustrations for this work consist of collaged images assembled from her many photographs of Cahun, dealing with many of the same themes of identity that can be read in Cahun's own photography and poetry.<ref name="Women" />