Women in World History: A Biographical Encyclopedia. A key figure in both the impressionist and post-impressionist movements, Jacob-Abraham-Camille Pissarr…, Laurence, Dan H. 1920-2008 (Daniel Hyman Goldstein), Laurel Business Institute: Narrative Description, Laurent-Lucas-Championnièremaugé, Odette (1892-1964), Laurentian University: Distance Learning Programs, Laurentian University: Narrative Description, https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laurencin-marie-1883-1956. Marie Laurencin was an indifferent student and preferred the study of music and literature to painting; she was an avid reader and had a library of over 500 volumes when she died. 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. A mutual friend, Louise Faure-Favier , tried to get the lovers to reconcile, but Marie adamantly refused. Apollinaire was devastated by the break-up of their affair, but Laurencin was not; in fact, she did not need him any longer. Apollinaire died in the influenza epidemic of 1918. Here she designed wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. A long-time friend described Marie Laurencin as "a poetic being who managed to sustain the magic of childhood throughout her life," a life that was "a peculiar mélange of nun and libertine.". ." Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. 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. Marie's association with Picasso, Gris, Modigliani, and other "moderns" also provided her entrée to Gertrude Stein's select gatherings. Olivier claimed that because of his penchant for neatness he and Marie made love in an armchair to avoid wrinkling his bed covers—"his bed was sacred." 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- Encyclopedias almanacs transcripts and maps, Women in World History: A Biographical Encyclopedia. Berthe Morisot The muted colours and the geometric patterns inherited from Cubism were replaced by light tones and undulating compositions. Laurencin was free now of the philandering Apollinaire, and when her mother died in 1913, she was finally on her own, free of the two persons who had been the dominating influences in her life. Encyclopedia.com. Marie Laurencin’s signature paintings feature graceful, pale-skinned, dark-eyed young women with dreamy expressions, rendered in pastel hues. 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. Editions de la Nouvelle Revue Française, 1921. Laurencin entered the Académie Humbert in 1903 and did her first etchings. NY: Farrar, Straus, 1963. VIGÉE-LEBRUN, ELISABETH (1755–1842), French painter. In 1907 Picasso introduced Marie Laurencin to his friend the poet Guillaume Apollinaire and they became romantically involved. In 1983, the 100th anniversary of her birth saw the inauguration of the Marie Laurencin Museum in Nagano-Ken, Japan. However, the date of retrieval is often important. Cite this article Pick a style below, and copy the text for your bibliography. Cassatt, Mary (1844–1926) Laurencin was born in Paris, where she was raised by her mother and lived much of her life. She was not a great fan of Laurencin's portraits, either. And the lovers never married; both of their mothers strongly disapproved not only of their liaison but of their unorthodox, "ne'er-do-well" friends. After they married, Marie and Otto left for a beach on the Atlantic coast of France. All her life she had close friends in the Parisian literary community. 5 March – 23 May 2020 opening reception on Thursday, 5 March, 6-8 pm. 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. Then, copy and paste the text into your bibliography or works cited list. Gere, Charlotte. 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. He suffered a serious head wound two years later and never fully recovered. Her absentee father, Alfred Toulet, a deputy to the National Assembly from Picardy, was already married to another woman when Marie was born. In fact, it is difficult to envision the primly dressed, bourgeois-mannered young woman as an intimate of the aggressive, boisterous male artists and writers who comprised the inner sanctum of Pablo Picasso's studio, the Bateau-Lavoir, on the rue Ravignan in Montmartre. Exhibited at the 1913 Armory Show, New York, Chicago and Boston, 1912, Femme à l'éventail (Woman with a Fan), black and white photograph published in Albert Gleizes, Jean Metzinger, Du "Cubisme", Edition Figuière, Paris, 1912, 1913, Le Bal élégant, La Danse à la campagne, The Cubist Painters, Aesthetic Meditations, https://www.musee-orangerie.fr/en/artwork/spanish-dancers, "Memories of Bilitis: Marie Laurencin beyond the Cublist Context", https://en.wikipedia.org/w/index.php?title=Marie_Laurencin&oldid=993579739, Pages using infobox artist with unknown parameters, Articles needing translation from French Wikipedia, Articles with unsourced statements from February 2008, Wikipedia articles with CANTIC identifiers, Wikipedia articles with Léonore identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. 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. 1910-11, Les jeunes filles (Jeune Femmes, Young Girls), oil on canvas, 115 x 146 cm. In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. It appealed, however, to Gertrude and Leo Stein who bought it; Picasso also owned one of Laurencin's Cubist-inspired paintings, La Songeuse (The Dreamer). Part of a circle of art…, PISSARRO, CAMILLE (1830–1903), French painter. Her name was associated with Natalie Clifford Barney and the Princess Violet Murat . 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. Exhibited Salon des Indépendants, 1911, Moderna Museet, Stockholm, 1911, La Toilette des jeunes filles (Die Jungen Damen), black and white photograph. 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. "MARIE"Poème de Guillaume APOLLINAIRE pour Marie LAURENCIN et chanté par Léo FERRE. Marie was raised by her mother, with little awareness of her father’s identity until the age of 21. He did, however, introduce her to her first significant romantic partner, the modernist poet Guillaume Apollinaire. Laurencin's works include paintings, watercolors, drawings, and prints. 2 Marie Laurencin, Les Carnets des Nuits, Brussels, Editions de la Nouvelle Revue Belgique (1942), p. 47-48. Margaret Davies claims that Laurencin seemed rather like "a child lost among sophisticated adults" in her relations with the Montmartre group. However, she did have contact with Picabia and the Dadaists in Madrid and Barcelona, and she contributed several poems to the Dada review 391. Apollinaire had already established his literary reputation among the Symbolists and was a "cosmopolitan erudite" figure in Paris; Laurencin was thoroughly Parisian, never happy or comfortable outside of her familiar surroundings. In 1925, she was able to acquire a country house in Champrosay and three years later purchased a large apartment in Paris. If Marie was viewed as an. 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. French artist, poet, book illustrator, and set designer. Le Bateau-Lavoir. Jeanne A. Ojala , Professor of History, University of Utah, Salt Lake City, Utah. Yet her productivity outlasted the relationship by decades. Marie Laurencin was a French artist known for her delicate depictions of young women in idyllic landscapes. The Germans requisitioned her large apartment, and she was forced to move into a smaller one and rent a studio. Henri Rousseau's painting of 1909 encapsulates the way Laurencin was perceived as a muse.In The Muse Inspiring the Poet she can be seen standing on the right-hand side of Apollinaire. Laurencin continued to explore themes of femininity and what she considered to be feminine modes of representation until her death. Associated with such cubist groups as the Section d'Or and the Armory Show, she is best known for her subtle portraits of elegant and slightly melancholic women, made in pastels. Marie Laurencin's unpublished correspondence, notebooks, photographs, official documents, and exhibition catalogues are located in the Bibliothèque Jacques Doucet, Paris, France. 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. In one of his finest poems, "Zone," he mourns the loss which propelled him "into one of his great troughs of despair." Day, George. S’ensuivent cinq années d’une relation tourmentée avant que, lassée par des infidélités nombreuses, Marie Laurencin ne prenne définitivement ses distances. Her last large canvas, Society Ball, was completed in 1913. 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. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. Born Mary Stevenson Cassatt in Allegheny C…, Berthe Morisot Like Natalie Barney, Marie regarded women as victims of war as much as men were, and she endured the privations suffered by civilians in Paris during the bleak years of Nazi occupation, 1940–44. Marie Laurencin was a French artist known for her delicate depictions of young women in idyllic landscapes. She went to court in 1951, but the case was not settled until 1955, when she finally regained possession. In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. In 1929, Janet Flanner (writing under her famous nom-de-plume Gênet) penned her regular "Letter from Paris" for The New Yorker magazine: her subject, Laurencin's illustration of Lewis Carroll's Alice in Wonderland. It belonged to Apollinaire, who hung it above his bed in the apartment he later shared with his wife Jacqueline Kolb . Laurencin was an illegitimate child and did not dare to ask her mother about her father, the politician Alfred Toulet, learning his identity only at the age of 21, though he visited the pair occasionally. Critics claim to observe a decline in quality, even in her portraits of women that frequently "verge on the saccharine." Her work lies outside the bounds of Cubist norms in her pursuit of a specifically feminine aesthetic by her use of pastel colors and curvilinear forms. Apollinaire had met Picasso in 1904, and their friendship merged the poet's Left Bank literary crowd with Picasso's Montmartre group. Shattered and unable to be alone, Apollinaire moved in with friends. Marie Laurencin et Guillaume Apollinaire se rencontrent en 1907. In the early 1900s, Laurencin did a series of self-portraits which reveal "her inherent narcissism." Apollinaire's biographer, Margaret Davies, seems to endorse his assessment, stating that Marie "was a specifically French phenomenon, the 'jolie-laide' (pretty-ugly), who manages to prove that mind can always triumph over matter." . Allard, Roger. If true, Marie's relationships with Barney's openly lesbian circle of famous and talented women did not damage her reputation with the public. • Les Jeunes filles, aquarelle sur papier 38 × 32,4 cm, [s.d. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites: http://www.chicagomanualofstyle.org/tools_citationguide.html. Laurencin was born in Paris,[2] where she was raised by her mother and lived much of her life. [7] Her signature motif is marked by willowy, ethereal female figures, and a palette of soft pastel colours, evoking an enchanted world.[8]. But if the genius of men intimidates me, I feel perfectly at ease with everything that is feminine. But Laurencin still had little inclination to paint. The following year, Rousseau portrayed Laurencin and Apollinaire in his painting "The Muse inspiring the poet." Davies, Margaret. And with Stein, Laurencin also acquired another admirer of her individual style. For a period in the 1920s he became her art dealer. Paris: Stock, 1933. Marie Laurencin et Guillaume Apollinaire se rencontrent par le biais de Pablo Picasso en 1907. South Florida Web Advisors Marie Laurencin … Marie Laurencin was born in Paris in 1883. ." 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. Apollinaire thus availed himself of the clichés of his time. At age 24, Marie still lived with her mother, as did the 27-year-old Apollinaire. Alice, Flanner notes, looked like Laurencin, and the Rabbit wore "a little pink Marie Laurencin hat and looks like a French poodle." There were rumors that Marie had female as well as male lovers. In 1921, Marie returned to Paris and began divorce proceedings. (After Laurencin's death, Suzanne would become the zealous guardian of her reputation, refusing scholars access to Marie's papers to protect her benefactor's much-cherished privacy.) Following the liberation of France and the end of the war, Marie tried, unsuccessfully, to reclaim her apartment. Marie Laurencin died in Paris in 1956; she was buried in a white dress holding a rose in one hand and a love letter from Guillaume Apollinaire in the other. The horse remained, for Marie always won artistic debates with her clients. 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. She was tall and thin and rather awkward in her movements. An artist and a poet's muse, she painted a world she viewed through her short-sighted eyes, was a friend of some of the greatest creative figures of the 20th century, and skillfully managed to fashion a personal life that met her need for privacy and independence. American artist and grande dame of the Impressionists. She also collaborated with André Grout on the "Chambre de Madame" for the Exposition Internationale des Arts Décoratifs in Paris (1925). 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. Surprisingly, Laurencin and her lover never lived together, but Apollinaire did move out of his mother's house to live near Marie and her mother. If possible, verify the text with references provided in the foreign-language article. [6], Her distinctive style developed upon her return to Paris in the 1920s post exile. He missed his "muse," Marie missed Paris. "Laurencin, Marie (1883–1956) She was the illegitimate child of the French politician Alfred Toulet and the headstrong, independent Pauline Laurencin. Pauline Laurencin came from Normandy and was said to be of Creole stock. Marie Laurencin. Laurencin's talent extended beyond portraiture. Her independence did not last long, however, for in June 1914, she married Baron Otto von Waëtjen—a most inopportune time to marry a German national as war between France and Germany was imminent. Pick a style below, and copy the text for your bibliography. "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. Laurencin was not inspired to paint while in exile—she was isolated from her beloved and familiar Paris and from her friends. She was, however, able to study the works of Goya, and during this time her characteristic, mature style began to emerge. Purity is her very element." 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. Marie had found her own artistic genre, and "her mood too shifted to one of lyrical melancholy." This second phase of Laurencin's long career began when she returned to Paris in 1921; her most productive period was the two decades between the wars. In 1983, the 100th anniversary of her birth saw the inauguration of the Marie Laurencin Museum in Nagano-Ken, Japan. 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. Shattuck, Roger. Linked to the Cubists, but not one of them, Laurencin continued to exhibit in their gallery shows. [1] She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Laurencin's ongoing celebration of women and femininity can be traced to her childhood years, in which her father's appear… Warnod, Jeannine. Originally influenced by Fauvism, she simplified her forms through the influence of the Cubist painters. Laurencin claims she was "triste, laide, et sans espoir" ("sad, ugly, and without hope") when she was young. 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.

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