Her name was associated with Natalie Clifford Barney and the Princess Violet Murat . During the 1930s she worked as an art instructor at a private school. Marie Laurencin et Guillaume Apollinaire se rencontrent par le biais de Pablo Picasso en 1907. Apollinaire. Kahn, Elizabeth Louise. Il est poète. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. Marie Laurencin. Purity is her very element." One critic described it as "a flat, primitivizing composition dominated by sharp contours and arabesques." The Germans requisitioned her large apartment, and she was forced to move into a smaller one and rent a studio. Known primarily for her portraits, Vigée-Lebrun was a favori…, Valadon, Suzanne If I never became a Cu bist painter it was because I never could… but their experiments fascinated me." Armand Lowengard, nephew of a well-known Paris art dealer, was Marie's devoted companion for many years; a scholar and graduate of Oxford, he wanted to marry her although his family disapproved. [7] Her signature motif is marked by willowy, ethereal female figures, and a palette of soft pastel colours, evoking an enchanted world.[8]. As her friend, the poet André Salmon, expressed it, "there is something of a fairy wand in the brush of Marie Laurencin." In light of this, it is striking that so many of her portraits of women resemble one another and, as some critics claim, actually look more like the artist than themselves. Marie Laurencin died of a heart attack on June 6, 1956, and was buried in Père Lachaise cemetery in Paris, joining Apollinaire, Colette, Gertrude Stein, and other great cultural icons. The third, and final, phase of Laurencin's extensive career is regarded by most critics as her "bad" period. If I feel so distant from other painters, it is because they are men…. Gere, Charlotte. Born Mary Stevenson Cassatt in Allegheny C…, Berthe Morisot Pauline wanted Marie to be a teacher, but after graduating from the Lycée Lamartine, Marie began to study painting. Women in World History: A Biographical Encyclopedia. Part of a circle of art…, PISSARRO, CAMILLE (1830–1903), French painter. If possible, verify the text with references provided in the foreign-language article. When war broke out, they fled south to Bordeaux and then to Spain, where they would live for almost five years. These two compositions show the Cubist influence on Laurencin's work during her early career, a distinct contrast to her later paintings in which soft pastels dominate, creating a kind of dream-like, fairyland quality. Entered the Lycée Lamartine (1893); studied porcelain painting at the École de Sèvres (1902–03); attended Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Salon des Indépendants, Paris (1907); began six-year affair with Guillaume Apollinaire (1907); held first individual exhibit of her paintings, Galarie Barbazanges, Paris (1912); lived in Spain (1914–19); returned to Paris (1921); designed sets and costumes for "Les Biches," Ballet Russes (1923); awarded Legion of Honor (1937); published memoirs, Le Carnet des nuits (1942); adopted Suzanne Moreau (1954); inauguration of Marie Laurencin Museum, Nagano-Ken, Japan (1983). They were inseparable and were lovers for the next six years. Picasso, Apollinaire and Laurencin (looming above them)-are more serious, srrggesting that, rather than a casual strrdio scene, Grorr p of Artists is a tightly organ- Marie Laurencin was born in Paris in 1883. She went to court in 1951, but the case was not settled until 1955, when she finally regained possession. Here she designed wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. Despite being involved with the avantgarde movement in Madrid, she was lonely and depressed. Other famous artists, including Picasso, Matisse, and Juan Gris, also designed sets—at the time, art was not confined to canvas and stone or to displaying one's work in art galleries. London: Farber, 1960. Retrieved December 21, 2020 from Encyclopedia.com: https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laurencin-marie-1883-1956. Moreover, she kept in contact with Otto in Paris until he died in 1942. Marie also used friends as subjects; in 1908, she did her celebrated canvas, Apollinaire and His Friends. He believed, "The greatest error of most women artists is that they try to surpass men, losing in the process their taste and their charm." Laurencin had intended to paint her friend Adrienne Monnier , whose bookstore was one of the literary focal points of Paris, but Adrienne insisted that Marie include her nose in the painting—Laurencin portraits were often "noseless." Laurencin studied porcelain painting at the Sèvres factory before studying painting at the Académie Humbert in Paris, where she met Georges Braque and Francis Picabia. NY: Rizzoli, 1977. [5] After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. The gentle, dream-like depiction of Lady Cunard hung in her fashionable residence in London and was greatly admired by her society guests. A regular at the Bateau-Lavoir, she was romantically involved with the writer Guillaume Apollinaire between 1907 and 1912 (Apollinaire and friends, a country gathering, oil on canvas, Musée national d’Art moderne, Paris, 1909). Everybody called Gertrude Stein Gertrude, or at most Mademoiselle Gertrude, everybody called Picasso Pablo and Fernande Fernande and everybody called Guillaume Apollinaire Guillaume and Max Jacob Max but everybody called Marie Laurencin Marie Laurencin. In 1912, her paintings hung among those of Marcel Duchamp, Juan Gris, Robert Delaunay, and others at the Galerie La Boëtie and the Galerie Barbazanges. Paris: Presses de la Connaissance, 1976. Respected and successful, Laurencin taught at an art academy in Paris from 1932 to 1935. To be allied with this avantgarde circle would prove to be immensely beneficial to Marie at this early stage of her career, and she was the only female admitted into this exclusively male bastion. Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). Exhibited Salon des Indépendants, 1911, Moderna Museet, Stockholm, 1911, La Toilette des jeunes filles (Die Jungen Damen), black and white photograph. An established artist in her own right now, Marie had secured a distinctive place in the world of modern art. The French government awarded Laurencin the Legion of Honor in 1937 and purchased her painting The Rehearsal which hangs in the Musée National d'Art Moderne in Paris. He suffered a serious head wound two years later and never fully recovered. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list. Marie was given her mother's surname and inherited the "frizzy hair, rather full lips, and almond eyes" attributed to Creoles at that time. Marie Laurencin was introduced to Picasso and his circle at the Bateau-Lavoir through Braque's intervention around the time of her artistic debut at the Salon des Indépendants in the autumn of 1907. Recent retrospectives of Marie Laurencin were held at the Hangaram Museum in Seoul, from December 2017 – March 2018, and at the Marmottan Monet Museum in Paris, from February – June 2013. Invasion and occupation by the Germans was obviously less odious to her than living in exile again. Laurencin was born in Paris,[2] where she was raised by her mother and lived much of her life. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. In his La Poète assassiné (1916), Apollinaire recounts their turbulent affair; the hero is Croniamantal, a poet, the heroine, Tristouse Ballerinette, is his mistress about whom he writes, "She has the somber and child-like face of those destined to make men suffer." He did, however, introduce her to her first significant romantic partner, the modernist poet Guillaume Apollinaire. All her life she had close friends in the Parisian literary community. And she avoided painting children—they did not arouse her creative senses. However, the date of retrieval is often important. Marie Laurencin et Guillaume Apollinaire se rencontrent en 1907. His infrequent visits disturbed Laurencin who "had a horror of all these masculine episodes—the louder voice, the kisses on the forehead" which struck her as rather crude. Steegmuller, Francis. If Apollinaire was understandably biased by his involvement with Marie, not everyone was so charmed by the young Parisian naïf. . Marie Laurencin was a famous painter and printmaker, studied art at the Académie Humbart. Laurencin never allowed even close friends to be privy to her most intimate thoughts and actions; not even her mother or Apollinaire had fathomed the depths of her character. VIGÉE-LEBRUN, ELISABETH (1755–1842), French painter. Allard, Roger. Laurencin suffered from a variety of ailments and serious bouts of depression for many years, but she continued to paint until she was nearly 70. Charlotte Gere describes him as a competent artist in straight portraiture, though "little more than a competent plagiarist, without originality [or] imagination." Introduction Le poème Marie est paru pour la première fois en octobre 1912 dans les Soirées de Paris.Comme le titre l'indique, Marie s'inscrit dans la continuité de la tradition lyrique puisqu'il en traite le thème dominant : l'amour. Cassatt, Mary (1844–1926) Encyclopedia.com. The year 1907 was a watershed in Laurencin's life and art, for Braque introduced her to Picasso and his circle of associates which included the poet, and aspiring art critic, Guillaume Apollinaire. ." In 1942, a book of memories and reminiscences was published, entitled Le Carnet des Nuits (literally, The Notebook of Nights). Untouched by her contacts with Dadaism, she was influenced by Spanish culture; several of Laurencin's postwar paintings include the Spanish-inspired figure of a young girl with a black shawl in her group scenes of dancers. Guillaume Apollinaire (French: [ɡijom apɔlinɛʁ]; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent.. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. There were rumors that Marie had female as well as male lovers. To Apollinaire, Laurencin became his "little sun, a feminine counterpart of himself," a "twin soul." Marie Laurencin enters a love relationship with Apollinaire; she is identified as his muse—a classic role imposed on women in avant-garde circles. French artist Suzanne Valadon (1865–1938) was an artist's model before becoming a respected painter herself. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. She was, however, able to study the works of Goya, and during this time her characteristic, mature style began to emerge. The couple subsequently lived together briefly in Düsseldorf. Cite this article Pick a style below, and copy the text for your bibliography. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. In 1908, Laurencin achieved her first sale when Gertrude Stein purchased Group of artists . The horse remained, for Marie always won artistic debates with her clients. And with this delicate wand, she created a soft, pastel, feminine world that contrasted sharply with the vivid, arbitrary colors and geometric figures emanating from Picasso's flamboyant and daring coterie of male artists. When Apollinaire realized he was losing Marie, he responded by writing poems with her as the subject; "Le Pont Mirabeau," "Cors de Chasse," and "Marie" are all reflections on their fading love. Frustratingly, there has been a longer historical memory of Laurencin as Apollinaire’s muse—he even wrote a poem titled “Marie”—than as an artist in her own right. Apollinaire died in the influenza epidemic of 1918. It belonged to Apollinaire, who hung it above his bed in the apartment he later shared with his wife Jacqueline Kolb . Her absentee father, Alfred Toulet, a deputy to the National Assembly from Picardy, was already married to another woman when Marie was born. Preferring to paint slender, willowy young women, Marie charged double for portraits of men—except for Maugham, who was a personal friend. Most online reference entries and articles do not have page numbers. Laurencin was a multitalented artist, never limited to a single genre to express her imagination and creativity. Tyrannical and possessive, Apollinaire provided Laurencin with intellectual stimulation and encouraged her work. Then, in her second creative phase, Marie turned to feminine portraits, employing "an entirely feminine aesthetic," as Apollinaire described it; virginal women with pale, oval-shaped faces, fair hair, and black, almond-shaped "fathomless" eyes. First performed by the Ballets Russes in Monte Carlo in 1924, it was also a resounding success in Paris and later in London and Berlin. With her reputation re-established after a single exhibition on her return to Paris, Laurencin was suddenly financially secure. Marie Laurencin’s signature paintings feature graceful, pale-skinned, dark-eyed young women with dreamy expressions, rendered in pastel hues. After they married, Marie and Otto left for a beach on the Atlantic coast of France. Laurencin's works include paintings, watercolors, drawings, and prints. Then, copy and paste the text into your bibliography or works cited list. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. She commenced a business arrangement with Paul Rosenberg who exhibited her pictures in his Paris gallery and received large commissions from the sale of her paintings. Even so, the poet and his muse remained in contact after their affair ended, and Apollinaire continued to hope that Laurencin would reconsider. In one of his finest poems, "Zone," he mourns the loss which propelled him "into one of his great troughs of despair." ‘Apollinaire and His Friends’ was created in 1909 by Marie Laurencin in Expressionism style. The Marie Laurencin Museum opened in Japan in 1983, becoming the first museum in the world devoted to a single female painter. However, she did have contact with Picabia and the Dadaists in Madrid and Barcelona, and she contributed several poems to the Dada review 391. Marie Laurencin's "Group of Artists" tells the story perfectly — Picasso in a blue suit is flattened in a nod to his primitivist abstractions, his model Fernande Olivier coyly leans head on hand. Despite the hardships, Laurencin continued to paint during the war, to design sets, and to exhibit her work. Her works include paintings, watercolors, drawings, and prints. "Marie Laurencin: Une Femme Inadaptée" in, Fonds Marie Laurencin, Bibliothèque littéraire Jacques Doucet, Université de Paris, This page was last edited on 11 December 2020, at 10:04. She was tall and thin and rather awkward in her movements. Consequently, the period from 1907 to 1914 is considered by critics to have been her best years as a painter. In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. Pauline Laurencin came from Normandy and was said to be of Creole stock. And with Stein, Laurencin also acquired another admirer of her individual style. View Marie Laurencin’s 6,354 artworks on artnet. One might reasonably assume that sex was only a part of Laurencin's and Apollinaire's mutual attraction; as an art critic, he promoted her work and encouraged her native talent, but his poems that dealt with their love affair are strikingly less sensual than those dealing with his other women. "Laurencin, Marie (1883–1956) Laurencin entered the Académie Humbert in 1903 and did her first etchings. When Lady Cunard, an elegant London society hostess, expressed her displeasure at being portrayed on a horse, Laurencin threatened to replace the horse with a camel. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. She exhibited in Paris, London, New York, and Berlin, and her paintings sold well. But Laurencin still had little inclination to paint. Laurencin's artistic career of 50 years can be divided into three distinct periods, as can her life. ." Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. innocent among this unconventional bohemian set of hedonists, the fastidious, bourgeois, gourmand Apollinaire was also a distinct presence among them. American artist and grande dame of the Impressionists. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. Marie did, no doubt, embody a feminine aesthetic which was greatly admired by her contemporaries. See available prints and multiples, works on paper, and paintings for sale and learn about the artist. The attraction was immediate and mutual between "the prophet of the Modern Movement" and the quiet artistic novice. Apollinaire was known to want to fashion, to shape, his women, and Laurencin was no exception. Après cette douloureuse rupture, Apollinaire écrira un de ses plus beaux poèmes, Le pont Mirabeau. Picasso et ses amis. Apollinaire, poet and art critic, praised Laurencin's "typically French grace," her "vibrant and joyful" personality, and her feminine qualities. He and his artist friends "were the catalysts that sparked Laurencin's unique artistic vision"; moreover, he recognized her stylistic strengths and encouraged her to follow them. In the early 1900s, Laurencin did a series of self-portraits which reveal "her inherent narcissism." To many of the Cubists, Symbolists, and others of the 1920s' avant-garde, art was wed to literature and to theater, and their interests were inclusive rather than exclusive. Coco Chanel disliked her portrait, saying it did not look like her, but as one of Marie's critics remarked, "likeness was never the primary aim of Laurencin's portraiture." The Spanish painter, sculptor, and graphic artist Pablo Picasso (1881-1973) was one of the most prodigious and revolution…, Vigée-Lebrun, Elisabeth (1755–1842) During the First World War, Laurencin left France for exile in Spain with her German-born husband, Baron Otto von Waëtjen, since through her marriage she had automatically lost her French citizenship. There is a quality of child-like innocence that pervades the life and art of Marie Laurencin. In 1907 Picasso introduced Marie Laurencin to his friend the poet Guillaume Apollinaire and they became romantically involved. Marie Laurencin. Elle est artiste peintre. The bold artistic and literary productions of the group, which included Juan Gris, Matisse, Modigliani, Georges Braque, Max Jacob, and Guillaume Apollinaire, are in glaring contrast to the paintings of Marie Laurencin whose talent "ranged between a flutter and a coo," as she described it. She observed and listened to the creative giants of her time, the Cubists, Fauvists, Dadaists, Symbolists, and Surrealists, but she was not an imitator; she did "not try to compete with male artists on their own ground.". She had relationships with men and women,[3] and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist."[4]. Day, George. It is curious that Marie Laurencin was able to develop and sustain warm relations with male friends, because her formative years were devoid of male influences. C'est le coup de foudre. Marie Laurencin, Apollinaire and His Friends (1909). To a great extent, this is true; Laurencin had developed her own distinctive style, her own vision of reality, and she changed little in the depiction of her chosen subjects. Marie was raised by her mother, with little awareness of her father’s identity until the age of 21. He also paid all her bills, relieving her of this banal burden. Marie consciously and aggressively took charge of her art and of her life. Here she met the brilliant Georges Braque, who admired her talent and eventually introduced her to Picasso. Editions de la Nouvelle Revue Française, 1921. After briefly flirting with the tenets of Cubism early on, Laurencin shied away from the modern styles of her day, drawing influence from Persian miniatures and the Rococo instead. Paris 1883 - Paris 1956 Born on October 31, 1883 in Paris, the young Marie Laurencin was sent to Sèvres by her mother in 1901, where she got familiar with porcelain painting. The two versions of Apollinaire and His Friends and Les Deux Soeurs (The Two Sisters) all reveal Cubist influence, as interpreted by Laurencin, of course. Women in World History: A Biographical Encyclopedia. She was still an expatriate, still longing for "her" Paris. Laurencin's inclusion in this artists' enclave led to her meeting Apollinaire; Picasso, certainly in jest, told Apollinaire that he had found his poet friend a "fiancée" and arranged for them to meet at Clovis Sagot's art gallery in Paris. In the 1920s and 1930s, Marie was one of the three most well-known women in France, along with Colette and Coco Chanel. Apollinaire had been a philanderer, and her marriage to Otto had forced her to live in exile, cut off from her "natural" surroundings. The gesticulation of her left hand indicates she has had a spark of creativity or a brilliant thought which Apollinaire will proceed to write down with his quill and paper.