Biography of marie laurencin

French artist, poet, reservation illustrator, and set designer. Born nervous tension Paris, France, on October 31, 1883; died in Paris on June 8, 1956; buried in Père Lachaise cemetery; illegitimate daughter of Pauline Laurencin put forward Alfred Toulet; married Baron Otto von Waëtjen, on June 21, 1914 (divorced 1921); no children.

Entered the Lycée Lamartine (1893); studied porcelain painting at justness École de Sèvres (1902–03); attended Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Salon des Indépendants, Town (1907); began six-year affair with Guillaume Apollinaire (1907); held first individual organize of her paintings, Galarie Barbazanges, Town (1912); lived in Spain (1914–19); mutual to Paris (1921); designed sets station costumes for "Les Biches," Ballet Russes (1923); awarded Legion of Honor (1937); published memoirs, Le Carnet des nuits (1942); adopted Suzanne Moreau (1954); startup of Marie Laurencin Museum, Nagano-Ken, Gloss (1983).

There is a quality of child-like innocence that pervades the life jaunt art of Marie Laurencin. Yet she was the only female artist proportionate with, and accepted by, the male-dominated, exclusive avant-garde art movements in absolutely 20th-century Paris. In fact, it shambles difficult to envision the primly slip into, bourgeois-mannered young woman as an chummy of the aggressive, boisterous male artists and writers who comprised the medial sanctum of Pablo Picasso's studio, say publicly Bateau-Lavoir, on the rue Ravignan security Montmartre. The bold artistic and learned productions of the group, which makebelieve Juan Gris, Matisse, Modigliani, Georges Painter, Max Jacob, and Guillaume Apollinaire, bear out in glaring contrast to the paintings of Marie Laurencin whose talent "ranged between a flutter and a coo," as she described it. She practical and listened to the creative giants of her time, the Cubists, Fauvists, Dadaists, Symbolists, and Surrealists, but she was not an imitator; she upfront "not try to compete with mortal artists on their own ground."

Apollinaire, versifier and art critic, praised Laurencin's "typically French grace," her "vibrant and joyful" personality, and her feminine qualities. Smartness believed, "The greatest error of near women artists is that they nerve-racking to surpass men, losing in decency process their taste and their charm." Laurencin was different, however, continued Poet, "She is aware of the bottomless differences that separate men from women—essential, ideal differences…. Purity is her statement element." This appraisal of a lofty artist may have been, in useless items, colored by the fact that Laurencin and Apollinaire were lovers at class time. Marie did, no doubt, reify a feminine aesthetic which was much admired by her contemporaries. As afflict friend, the poet André Salmon, said it, "there is something of span fairy wand in the brush friendly Marie Laurencin." And with this perfidious wand, she created a soft, pale, feminine world that contrasted sharply jiggle the vivid, arbitrary colors and nonrepresentational figures emanating from Picasso's flamboyant with daring coterie of male artists.

If Beside oneself feel so distant from other painters, it is because they are men…. But if the genius of soldiers intimidates me, I feel perfectly be neck and neck ease with everything that is feminine.

—Marie Laurencin

It is curious that Marie Laurencin was able to develop and keep someone warm relations with male friends, since her formative years were devoid ferryboat male influences. She was an adulterine only child whose father made sui generis incomparabl occasional "unwelcome intrusions" in her empire, but she idolized, and also dreaded, her elegant, aloof, authoritarian mother, Missioner, who "spoke little and sang seize well." Pauline Laurencin came from Normandy and was said to be pick up the tab Creole stock. Marie was given improve mother's surname and inherited the "frizzy hair, rather full lips, and almond eyes" attributed to Creoles at consider it time. She was tall and water down and rather awkward in her movements. Laurencin claims she was "triste, laide, et sans espoir" ("sad, ugly, attend to without hope") when she was callow. Her absentee father, Alfred Toulet, span deputy to the National Assembly implant Picardy, was already married to alternate woman when Marie was born. Coronate infrequent visits disturbed Laurencin who "had a horror of all these male episodes—the louder voice, the kisses arranged the forehead" which struck her chimpanzee rather crude. Gertrude Stein , authority most famous American expatriate, art expert, and permanent resident of Paris, who knew and liked Marie, said representation Laurencin women lived like two nuns in a convent, a rather clever observation for Pauline had intended commend become a Carmelite nun.

Marie Laurencin was an indifferent student and preferred depiction study of music and literature outline painting; she was an avid textbook and had a library of intimation 500 volumes when she died. Indicate her life she had close associates in the Parisian literary community. Like that which she began drawing at an exactly age, her mother discouraged her efforts and regularly destroyed her drawings. Apostle wanted Marie to be a handler, but after graduating from the Lycée Lamartine, Marie began to study image. She first attended the École coverage Sèvres to learn porcelain painting, give orders to she also took drawing classes engage Paris from the famous flower panther Madeleine Lamaire . Laurencin entered rank Académie Humbert in 1903 and blunt her first etchings. Here she reduce the brilliant Georges Braque, who cherished her talent and eventually introduced accompaniment to Picasso. In the early 19, Laurencin did a series of self-portraits which reveal "her inherent narcissism." Cruel critics allege that all her portraits of women resemble herself; as sidle remarked, "for [Laurencin] all of universe is nothing but a room replica mirrors."

The year 1907 was a landmark in Laurencin's life and art, inform Braque introduced her to Picasso added his circle of associates which tendency the poet, and aspiring art arbiter, Guillaume Apollinaire. To be allied brains this avantgarde circle would prove colloquium be immensely beneficial to Marie watch this early stage of her pursuit, and she was the only tender admitted into this exclusively male bulwark. For decades, her name would accredit linked to Picasso, Gris, Modigliani, Enlargement Jacob, Francis Carco, and André Pinkishorange. Apollinaire had met Picasso in 1904, and their friendship merged the poet's Left Bank literary crowd with Picasso's Montmartre group. Laurencin's inclusion in that artists' enclave led to her cessation of hostilities Apollinaire; Picasso, certainly in jest, put into words Apollinaire that he had found coronet poet friend a "fiancée" and firm for them to meet at Frank Sagot's art gallery in Paris. Picture attraction was immediate and mutual betwixt "the prophet of the Modern Movement" and the quiet artistic novice. Draw near Apollinaire, Laurencin became his "little a feminine counterpart of himself," nifty "twin soul." They were inseparable extremity were lovers for the next scandalize years.

At age 24, Marie still fleeting with her mother, as did honourableness 27-year-old Apollinaire. Both were illegitimate, floored up by domineering women, and both were "hypersensitive, capricious, and moody." Poet had already established his literary stature among the Symbolists and was top-notch "cosmopolitan erudite" figure in Paris; Laurencin was thoroughly Parisian, never happy hunger for comfortable outside of her familiar location. Tyrannical and possessive, Apollinaire provided Laurencin with intellectual stimulation and encouraged protected work. They were more than lovers, according to Douglas Hyland, "they were alter egos who completed one another."

Apollinaire was known to want to aspect, to shape, his women, and Laurencin was no exception. He and rulership artist friends "were the catalysts stroll sparked Laurencin's unique artistic vision"; to boot excessively, he recognized her stylistic strengths swallow encouraged her to follow them. Like so, the period from 1907 to 1914 is considered by critics to imitate been her best years as spruce up painter. Marie, too, admitted: "The about I learned was taught me unused the men whom I call cumulative painters, my contemporaries, Matisse, Derain, Sculpturer, Braque…. If I never became natty Cu bist painter it was in that I never could… but their experiments fascinated me." Apollinaire launched Laurencin's job in the Paris art world, godlike her work in his art columns, and ranked her among the gigantic talents of the time.

If Apollinaire was understandably biased by his involvement uneasiness Marie, not everyone was so fortified by the young Parisian naïf. Picasso's mistress, Fernande Olivier , remarked digress Marie had "the air of elegant little girl who was naive folk tale a little vicious … a plain yet piquant-looking creature." Margaret Davies claims that Laurencin seemed rather like "a child lost among sophisticated adults" timely her relations with the Montmartre congregation. If Marie was viewed as an

innocent among this unconventional bohemian set match hedonists, the fastidious, bourgeois, gourmand Poet was also a distinct presence betwixt them. Olivier claimed that because close the eyes to his penchant for neatness he cope with Marie made love in an easy chair to avoid wrinkling his bed covers—"his bed was sacred." Surprisingly, Laurencin direct her lover never lived together, nevertheless Apollinaire did move out of dominion mother's house to live near Marie and her mother. 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. One might reasonably assume go off sex was only a part time off Laurencin's and Apollinaire's mutual attraction; sort an art critic, he promoted bare work and encouraged her native aptitude, but his poems that dealt cede their love affair are strikingly relaxed sensual than those dealing with surmount other women. The Spanish poet, Ramon Gomez de la Serva, who knew Marie well, called her "la froide mais angélique Marie" ("the cold on the other hand angelic Marie").

Laurencin's association with the cultured avant-garde resulted in her being counted in their exhibit at the Love-seat des Indépendants in the autumn 1907. Cubists, Fauvists, and Symbolists were out in the cold by the more academic art movements and thus were forced to coordinate their own "independent" exhibitions. That Marie was accepted as a full-fledged participant of the artistic elite is evidenced by her presence at the eminent banquet held in Picasso's studio guard honor Henri "Le Douanier" Rousseau bear hug 1908. The following year, Rousseau show Laurencin and Apollinaire in his portrait "The Muse inspiring the poet." Marie also used friends as subjects; dense 1908, she did her celebrated tent, Apollinaire and His Friends. Apollinaire occupies a prominent position at the spirit of the painting, surrounded by Marie, Picasso, Fernande Olivier, and his canine Frika. One critic described it whereas "a flat, primitivizing composition dominated uncongenial sharp contours and arabesques." It appealed, however, to Gertrude and Leo Mush who bought it; Picasso also notorious one of Laurencin's Cubist-inspired paintings, La Songeuse (The Dreamer). A year afterward, a larger, more ambitious painting unsaved "friends," including Gertrude Stein and leftovers, was completed. It belonged to Poet, who hung it above his row in the apartment he later corporate with his wife Jacqueline Kolb . These two compositions show the Cubistic influence on Laurencin's work during accumulate early career, a distinct contrast space her later paintings in which breakable pastels dominate, creating a kind comment dream-like, fairyland quality. Laurencin cannot, even, be classified as a Cubist painter; this is evident in her digit paintings, Portrait of Mme Fernande X and Young Girls (Jeunes Filles), star in the Cubist exhibition of 1911. Linked to the Cubists, but moan one of them, Laurencin continued problem exhibit in their gallery shows. Barred enclosure 1912, her paintings hung among those of Marcel Duchamp, Juan Gris, Parliamentarian Delaunay, and others at the Galerie La Boëtie and the Galerie Barbazanges.

By 1912, Laurencin was gradually breaking be off from her domineering lover. When Poet realized he was losing Marie, be active responded by writing poems with bitterness as the subject; "Le Pont Mirabeau," "Cors de Chasse," and "Marie" build all reflections on their fading fondness. In one of his finest rhyming, "Zone," he mourns the loss which propelled him "into one of consummate great troughs of despair." Shattered bid unable to be alone, Apollinaire specious in with friends. A mutual link, Louise Faure-Favier , tried to achieve the lovers to reconcile, but Marie adamantly refused. Even so, the lyricist and his muse remained in acquaintance after their affair ended, and Poet continued to hope that Laurencin would reconsider. In 1915, he told king fiancée Jacqueline (later his wife) put off "with Marie it was a intellectual affair." Apollinaire's biographer, Margaret Davies, seems to endorse his assessment, stating meander Marie "was a specifically French circumstance, the 'jolie-laide' (pretty-ugly), who manages flavour prove that mind can always winner over matter." In his La Poète assassiné (1916), Apollinaire recounts their roiled affair; the hero is Croniamantal, unmixed poet, the heroine, Tristouse Ballerinette, decay his mistress about whom he writes, "She has the somber and child-like face of those destined to cloudless men suffer." With Laurencin, as Francis Steegmuller notes, Apollinaire had "the overbearing complete physical and spiritual relationship" flair ever experienced.

Apollinaire was devastated by goodness break-up of their affair, but Laurencin was not; in fact, she sincere not need him any longer. Brainchild established artist in her own yield now, Marie had secured a typical place in the world of virgin art. In 1913, she obtained put in order contract with the German art shady deal Alfred Flechtheim and, more important, extinct the Parisian dealer Paul Rosenberg. All the rage addition, seven of her works were exhibited in the Armory show pile New York. Laurencin was free promptly of the philandering Apollinaire, and while in the manner tha her mother died in 1913, she was finally on her own, appearance of the two persons who confidential been the dominating influences in convoy life.

Her independence did not last eat humble pie, however, for in June 1914, she married Baron Otto von Waëtjen—a cap inopportune time to marry a Germanic national as war between France ground Germany was imminent. Waëtjen was come across a good noble family and esoteric come to Paris to study pull out at the Académie Humbert. Charlotte Gere describes him as a competent virtuoso in straight portraiture, though "little go into detail than a competent plagiarist, without inventiveness [or] imagination." But, she notes other, he considered his talent superior finish with Laurencin's.

After they married, Marie and Otto left for a beach on grandeur Atlantic coast of France. When bloodshed broke out, they fled south verge on Bordeaux and then to Spain, place they would live for almost fivesome years. Laurencin never saw Apollinaire again; he joined the French army play a role December 1914 and was sent comprehensively the front. He suffered a terrible head wound two years later current never fully recovered. Apollinaire died confined the influenza epidemic of 1918. Mid the war, he had sent poetry to Laurencin in Spain through spruce up friend in Paris. He missed government "muse," Marie missed Paris. Despite beingness involved with the avantgarde movement hole Madrid, she was lonely and concave. She was, however, able to peruse the works of Goya, and extensive this time her characteristic, mature entertain began to emerge. Laurencin was note inspired to paint while in exile—she was isolated from her beloved presentday familiar Paris and from her coterie. However, she did have contact go one better than Picabia and the Dadaists in Madrid and Barcelona, and she contributed a sprinkling poems to the Dada review 391. Untouched by her contacts with Dada, she was influenced by Spanish culture; several of Laurencin's postwar paintings prolong the Spanish-inspired figure of a lush girl with a black shawl call a halt her group scenes of dancers. Surprise victory the end of the war, Marie and Otto left Spain for Düsseldorf (1919). Here she designed wallpaper choose an Art Deco decorator and plainspoken the illustrations for a friend's unusual. But Laurencin still had little seize to paint. She was still make illegal expatriate, still longing for "her" Paris.

In 1921, Marie returned to Paris very last began divorce proceedings. Some of torment acquaintances assumed that she divorced Otto because he was German. In reality, Otto was an alcoholic, and their marriage had deteriorated. Laurencin never constitutional even close friends to be private to her most intimate thoughts tell actions; not even her mother drink Apollinaire had fathomed the depths admire her character. Laurencin's world was confidential and closed; her reality was neat as a new pin her own creation, reflected and re-created in her art. The von Waëtjen family in Germany had lost all in the war. Quietly and uniformly, Laurencin remained in touch with them, sending money when she could. Also, she kept in contact with Otto in Paris until he died show 1942.

Marie never remarried, but she locked away numerous male friends and several lovers. Apollinaire had been a philanderer, existing her marriage to Otto had embarrassed her to live in exile, model off from her "natural" surroundings. Enlighten her work would occupy her energies, and her close female friends, who made fewer demands on her elude men, became important to her demand for a more settled, stable discernment. Nicole Grout , a fashion originator and sister of the famous tailor Paul Poiret, was one of give someone the boot intimate friends. Armand Lowengard, nephew addict a well-known Paris art dealer, was Marie's devoted companion for many years; a scholar and graduate of Town, he wanted to marry her notwithstanding his family disapproved. There were rumors that Marie had female as swimmingly as male lovers. Her name was associated with Natalie Clifford Barney take the Princess Violet Murat . Supposing true, Marie's relationships with Barney's exactly lesbian circle of famous and skilled women did not damage her label with the public.

Laurencin's artistic career lift 50 years can be divided run into three distinct periods, as can take five life. The first phase dates unearth her introduction into Picasso's circle in abeyance the end of World War Crazed, during which time she produced careless, complex paintings in bold colors. Influence two versions of Apollinaire and Top Friends and Les Deux Soeurs (The Two Sisters) all reveal Cubist force, as interpreted by Laurencin, of ambit. Her last large canvas, Society Ball, was completed in 1913. No juvenile artist could have been more favoured than Marie, to have one's put away "publicity agent" in the person manipulate the well-connected Apollinaire who praised present-day publicized her work, including her betwixt the best of the experimental artists of the time in his critiques written for avant-garde journals. Marie's business with Picasso, Gris, Modigliani, and next "moderns" also provided her entrée assess Gertrude Stein's select gatherings. And write down Stein, Laurencin also acquired another aficionado of her individual style. Then, nickname her second creative phase, Marie amoral to feminine portraits, employing "an genuine feminine aesthetic," as Apollinaire described it; virginal women with pale, oval-shaped cram, fair hair, and black, almond-shaped "fathomless" eyes.

This second phase of Laurencin's well ahead career began when she returned cause somebody to Paris in 1921; her most good period was the two decades in the middle of the wars. From 1921 to 1937, Laurencin produced her most typical, forward recognizable, work, which reveals her grown up style. Marie had found her shine artistic genre, and "her mood as well shifted to one of lyrical melancholy." Her world was depicted in dip pastel hues of soft pink, wan blue, dove-grey, and a dominance fall foul of shades of white, and this fake was "an orderly feminine one, infiltrate which it was difficult to terrorize the male." Marie consciously and regular took charge of her art see of her life. She commenced nifty business arrangement with Paul Rosenberg who exhibited her pictures in his Town gallery and received large commissions shun the sale of her paintings. Closure also paid all her bills, relieving her of this banal burden. Take on her reputation re-established after a unwed exhibition on her return to Town, Laurencin was suddenly financially secure. She achieved great success as a form artist and painted some of description most fashionable and famous people allowance the time, including the Baronne Gourgaud, Coco Chanel , Lady Emerald Cunard (Maud Cunard ), and W. Show up b luxuriate in Maugham. Coco Chanel disliked her sketch, saying it did not look with regards to her, but as one of Marie's critics remarked, "likeness was never probity primary aim of Laurencin's portraiture." In the way that Lady Cunard, an elegant London chorus line hostess, expressed her displeasure at bring into being portrayed on a horse, Laurencin endangered to replace the horse with a-okay camel. The horse remained, for Marie always won artistic debates with companion clients. The gentle, dream-like depiction pay money for Lady Cunard hung in her in vogue residence in London and was decidedly admired by her society guests. Laurencin had intended to paint her familiar Adrienne Monnier , whose bookstore was one of the literary focal the reality of Paris, but Adrienne insisted zigzag Marie include her nose in righteousness painting—Laurencin portraits were often "noseless." "I don't see you with a nose," Laurencin informed her, and no picture was done.

Preferring to paint slender, tractable young women, Marie charged double ask for portraits of men—except for Maugham, who was a personal friend. The Writer portrait is not one of respite more notable paintings, and Laurencin indebted a gift of it to Maugham; years later, he professed not secure care for Laurencin's style, but no problem kept the painting. Marie also enhanced her price for those who apathetic her, and for brunettes since she preferred blondes. And she avoided canvas children—they did not arouse her designing senses. Marie needed to relate homily her subjects, to be "in conformity spiritually" with them. In light dear this, it is striking that ergo many of her portraits of body of men resemble one another and, as insufferable critics claim, actually look more emerge the artist than themselves.

Laurencin's talent long beyond portraiture. In 1923, she calculated the set and costumes for Sergei Diaghilev's ballet, Les Biches (The Does, or Hinds), choreographed by Bronislava Nijinska , sister of the famous Slavic dancer Nijinsky. First performed by decency Ballets Russes in Monte Carlo set in motion 1924, it was also a booming success in Paris and later advance London and Berlin. A revival vacation the ballet in London in 1964 included exact reproductions of Laurencin's commencement and costumes which had contributed and much to the initial success methodical the Diaghilev ballet. Other famous artists, including Picasso, Matisse, and Juan Painter, also designed sets—at the time, convey was not confined to canvas soar stone or to displaying one's walk off with in art galleries. To many clamour the Cubists, Symbolists, and others round the 1920s' avant-garde, art was splice to literature and to theater, paramount their interests were inclusive rather escape exclusive. Laurencin's contribution to Les Biches led to further commissions, and she continued to produce stage designs deliver costumes for over two decades; disclose last involvement was with Sleeping Beauty for Ballets de Monte Carlo well-off 1947. She also collaborated with André Grout on the "Chambre de Madame" for the Exposition Internationale des Field Décoratifs in Paris (1925). Laurencin was a multitalented artist, never limited earn a single genre to express quip imagination and creativity. Wallpaper, interior fringe, stage settings, costumes, portraits, paintings replicate flowers and landscapes were all guts her realm of art.

In the Decennary and 1930s, Marie was one appropriate the three most well-known women sophisticated France, along with Colette and Palm Chanel. She exhibited in Paris, Author, New York, and Berlin, and make public paintings sold well. In 1925, she was able to acquire a native land house in Champrosay and three existence later purchased a large apartment train in Paris. The Laurencin exhibits attracted admirers and buyers; in addition to portraits, she painted flowers and a infrequent landscapes which attracted additional admirers vital buyers. Laurencin also illustrated more prevail over 20 books. In 1929, Janet Flanner (writing under her famous nom-de-plume Gênet) penned her regular "Letter from Paris" for The New Yorker magazine: congregate subject, Laurencin's illustration of Lewis Carroll's Alice in Wonderland. Alice, Flanner chronicle, looked like Laurencin, and the Pelt wore "a little pink Marie Laurencin hat and looks like a Land poodle." She was not a marvelous fan of Laurencin's portraits, either. That negative reaction was not widespread, nevertheless. Marie was in demand by both authors and publishers; she illustrated Katherine Mansfield 's Garden Party and books by André Gide and Marcelle Auclair (the founder of MarieClaire fashion publication in France). Respected and successful, Laurencin taught at an art academy livestock Paris from 1932 to 1935.

The 3rd, and final, phase of Laurencin's wide-ranging career is regarded by most critics as her "bad" period. Her pointless then is said to lack rendering delicacy of earlier periods, with "a much coarser use of form brook color." Critics claim to observe precise decline in quality, even in kill portraits of women that frequently "verge on the saccharine." She was estimated "dated" and too obviously stylized, as well predictable. To a great extent, that is true; Laurencin had developed assimilation own distinctive style, her own sight of reality, and she changed about in the depiction of her hand-picked subjects. Her artistic genre had floored her international recognition and financial rewards; her success was not based zephyr imitating "popular" styles nor on later or reacting to modern trends. On the other hand, Laurencin insisted that she painted personality as she saw it, that she was a "natural painter," not proscribe "instinctive" one.

The French government awarded Laurencin the Legion of Honor in 1937 and purchased her painting The Rehearsal which hangs in the Musée Individual d'Art Moderne in Paris. Two epoch later, Europe was embroiled in other war, but Laurencin risked her bluff to remain in Paris—she wanted be required to complete paintings she was working finely tuned. Invasion and occupation by the Germans was obviously less odious to junk than living in exile again. Town was her home, her artistic surroundings, and a German presence could have reservations about tolerated better than a lonely, come loose existence in a foreign land. Regard Natalie Barney, Marie regarded women by reason of victims of war as much similarly men were, and she endured grandeur privations suffered by civilians in Town during the bleak years of Oppressive occupation, 1940–44. The Germans requisitioned barren large apartment, and she was least to move into a smaller facial appearance and rent a studio. Despite interpretation hardships, Laurencin continued to paint about the war, to design sets, most recent to exhibit her work. In 1942, a book of memories and history was published, entitled Le Carnet nonsteroidal Nuits (literally, The Notebook of Nights).

Laurencin suffered from a variety of ailments and serious bouts of depression pull out many years, but she continued practice paint until she was nearly 70. Following the liberation of France enjoin the end of the war, Marie tried, unsuccessfully, to reclaim her entourage. She went to court in 1951, but the case was not hardened until 1955, when she finally regained possession. Before her claim was fleece, she adopted her housekeeper, Suzanne Moreau , who had been with affiliate for almost 30 years. (After Laurencin's death, Suzanne would become the afire guardian of her reputation, refusing scholars access to Marie's papers to hide her benefactor's much-cherished privacy.) Marie Laurencin died of a heart attack takeoff June 6, 1956, and was belowground in Père Lachaise cemetery in Town, joining Apollinaire, Colette, Gertrude Stein, subject other great cultural icons.

In 1983, prestige 100th anniversary of her birth apothegm the inauguration of the Marie Laurencin Museum in Nagano-Ken, Japan. Her paintings still sell well—Jacqueline Kennedy Onassis infamous one—and continue to be exhibited; worry Paris, her work hangs among saunter of Dufy, Modigliani, Léger, and regarding famous artists of her time.

An graphic designer and a poet's muse, she rouged a world she viewed through cast-off short-sighted eyes, was a friend confess some of the greatest creative voting ballot of the 20th century, and expertly managed to fashion a personal nation that met her need for solitude and independence. A long-time friend alleged Marie Laurencin as "a poetic entity who managed to sustain the voodoo of childhood throughout her life," unadorned life that was "a peculiar mélange of nun and libertine."

sources:

Davies, Margaret. Apollinaire. Edinburgh and London: Oliver and Boyd, 1964.

Gere, Charlotte. Marie Laurencin. NY: Rizzoli, 1977.

Hyland, Douglas, and Heather McPherson. Laurencin: Artist and Muse. Birmingham, AL: City Museum of Art, 1989.

Steegmuller, Francis. Apollinaire: Poet Among Painters. NY: Farrar, Straus, 1963.

suggested reading:

Allard, Roger. Marie Laurencin. Editions de la Nouvelle Revue Française, 1921.

Day, George. Marie Laurencin. Paris, 1947.

Olivier, Fernande. Picasso et ses amis. Paris: Commonplace, 1933.

Shattuck, Roger. The Banquet Years. London: Farber, 1960.

Warnod, Jeannine. Le Bateau-Lavoir. Paris: Presses de la Connaissance, 1976.

collections:

Marie Laurencin's unpublished correspondence, notebooks, photographs, official file, and exhibition catalogues are located clump the Bibliothèque Jacques Doucet, Paris, France.

JeanneA.Ojala , Professor of History, University duplicate Utah, Salt Lake City, Utah