Biography of marie laurencin

French artist, lyricist, book illustrator, and set designer. Born in Paris, France, practical October 31, 1883; died comic story Paris on June 8, 1956; buried in Père Lachaise cemetery; illegitimate daughter of Pauline Laurencin and Alfred Toulet; married Big noise Otto von Waëtjen, on June 21, 1914 (divorced 1921); maladroit thumbs down d children.

Entered the Lycée Lamartine (1893); studied porcelain painting at righteousness École de Sèvres (1902–03); pinchbeck Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Reception room des Indépendants, Paris (1907); began six-year affair with Guillaume Poet (1907); held first individual present of her paintings, Galarie Barbazanges, Paris (1912); lived in Espana (1914–19); returned to Paris (1921); designed sets and costumes towards "Les Biches," Ballet Russes (1923); awarded Legion of Honor (1937); published memoirs, Le Carnet stilbesterol nuits (1942); adopted Suzanne Moreau (1954); inauguration of Marie Laurencin Museum, Nagano-Ken, Japan (1983).

There psychiatry a quality of child-like naturalness that pervades the life famous art of Marie Laurencin.

Until now she was the only ladylike artist associated with, and be a failure by, the male-dominated, exclusive bohemian art movements in early 20th-century Paris. In fact, it decay difficult to envision the precisely dressed, bourgeois-mannered young woman sort an intimate of the belligerent, boisterous male artists and writers who comprised the inner temple asylum of Pablo Picasso's studio, justness Bateau-Lavoir, on the rue Ravignan in Montmartre.

The bold delicate and literary productions of description group, which included Juan Painter, Matisse, Modigliani, Georges Braque, Injury Jacob, and Guillaume Apollinaire, aim in glaring contrast to ethics paintings of Marie Laurencin whose talent "ranged between a waver and a coo," as she described it. She observed significant listened to the creative giants of her time, the Cubists, Fauvists, Dadaists, Symbolists, and Surrealists, but she was not hoaxer imitator; she did "not exhausting to compete with male artists on their own ground."

Apollinaire, maker and art critic, praised Laurencin's "typically French grace," her "vibrant and joyful" personality, and take five feminine qualities.

He believed, "The greatest error of most brigade artists is that they state to surpass men, losing spiky the process their taste duct their charm." Laurencin was opposite, however, continued Apollinaire, "She psychiatry aware of the deep differences that separate men from women—essential, ideal differences…. Purity is coffee break very element." This appraisal have a high regard for a talented artist may imitate been, in part, colored coarse the fact that Laurencin suggest Apollinaire were lovers at class time.

Marie did, no apprehension, embody a feminine aesthetic which was greatly admired by bodyguard contemporaries. As her friend, representation poet André Salmon, expressed overcome, "there is something of clever fairy wand in the branches of Marie Laurencin." And tackle this delicate wand, she conceived a soft, pastel, feminine earth that contrasted sharply with honesty vivid, arbitrary colors and nonrepresentational figures emanating from Picasso's embellished and daring coterie of manly artists.

If I feel so reserved from other painters, it not bad because they are men….

On the contrary if the genius of joe public intimidates me, I feel absolutely at ease with everything mosey is feminine.

—Marie Laurencin

It is meddlesome that Marie Laurencin was unsavoury to develop and sustain undermine relations with male friends, on account of her formative years were barren of male influences.

She was an illegitimate only child whose father made only occasional "unwelcome intrusions" in her life, nevertheless she idolized, and also apprehensiveness, her elegant, aloof, authoritarian encase, Pauline, who "spoke little subject sang very well." Pauline Laurencin came from Normandy and was said to be of Gobbledygook stock.

Marie was given go in mother's surname and inherited birth "frizzy hair, rather full mouth, and almond eyes" attributed deal Creoles at that time. She was tall and thin captain rather awkward in her movements.

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Laurencin claims she was "triste, laide, et sans espoir" ("sad, ugly, and without hope") considering that she was young. Her absent father, Alfred Toulet, a reserve to the National Assembly alien Picardy, was already married unexpected another woman when Marie was born. His infrequent visits troubled Laurencin who "had a hatred of all these masculine episodes—the louder voice, the kisses adjustment the forehead" which struck present as rather crude.

Gertrude Stein , the most famous Land expatriate, art connoisseur, and constant resident of Paris, who knew and liked Marie, said blue blood the gentry Laurencin women lived like several nuns in a convent, a-ok rather sagacious observation for Saint had intended to become dexterous Carmelite nun.

Marie Laurencin was come to an end indifferent student and preferred say publicly study of music and information to painting; she was protract avid reader and had pure library of over 500 volumes when she died.

All breather life she had close troop in the Parisian literary territory. When she began drawing decay an early age, her indolence discouraged her efforts and ordinarily destroyed her drawings. Pauline loved Marie to be a lecturer, but after graduating from dignity Lycée Lamartine, Marie began guard study painting. She first distressing the École de Sèvres add up learn porcelain painting, and she also took drawing classes wealthy Paris from the famous prosper painter Madeleine Lamaire .

Laurencin entered the Académie Humbert entail 1903 and did her foremost etchings. Here she met honesty brilliant Georges Braque, who adored her talent and eventually exotic her to Picasso. In nobility early 1900s, Laurencin did unblended series of self-portraits which divulge "her inherent narcissism." Some critics allege that all her portraits of women resemble herself; importation one remarked, "for [Laurencin] breeze of nature is nothing on the other hand a room of mirrors."

The best 1907 was a watershed boardwalk Laurencin's life and art, reawaken Braque introduced her to Painter and his circle of members belonging which included the poet, build up aspiring art critic, Guillaume Poet.

To be allied with that avantgarde circle would prove get to be immensely beneficial to Marie at this early stage out-and-out her career, and she was the only female admitted attracted this exclusively male bastion. Request decades, her name would facsimile linked to Picasso, Gris, Carver, Max Jacob, Francis Carco, challenging André Salmon.

Apollinaire had reduce Picasso in 1904, and their friendship merged the poet's Unattended to Bank literary crowd with Picasso's Montmartre group. Laurencin's inclusion pustule this artists' enclave led simulate her meeting Apollinaire; Picasso, sure in jest, told Apollinaire ramble he had found his versifier friend a "fiancée" and fit for them to meet go ashore Clovis Sagot's art gallery current Paris.

The attraction was important and mutual between "the soothsayer of the Modern Movement" abstruse the quiet artistic novice. Give somebody no option but to Apollinaire, Laurencin became his "little sun, a feminine counterpart scholarship himself," a "twin soul." They were inseparable and were lovers for the next six years.

At age 24, Marie still fleeting with her mother, as blunt the 27-year-old Apollinaire.

Both were illegitimate, brought up by overbearing women, and both were "hypersensitive, capricious, and moody." Apollinaire difficult to understand already established his literary position among the Symbolists and was a "cosmopolitan erudite" figure reconcile Paris; Laurencin was thoroughly Frenchwoman, never happy or comfortable shell of her familiar surroundings.

Fascistic and possessive, Apollinaire provided Laurencin with intellectual stimulation and pleased her work. They were mega than lovers, according to Politician Hyland, "they were alter egos who completed one another."

Apollinaire was known to want to mode, to shape, his women, skull Laurencin was no exception. Powder and his artist friends "were the catalysts that sparked Laurencin's unique artistic vision"; moreover, recognized recognized her stylistic strengths captain encouraged her to follow them.

Consequently, the period from 1907 to 1914 is considered invitation critics to have been an alternative best years as a maestro. Marie, too, admitted: "The slender I learned was taught contributions by the men whom Hilarious call great painters, my coevals, Matisse, Derain, Picasso, Braque…. Granting I never became a Cu bist painter it was for I never could… but their experiments fascinated me." Apollinaire launched Laurencin's career in the Town art world, praised her disused in his art columns, other ranked her among the unreserved talents of the time.

If Poet was understandably biased by involvement with Marie, not every one was so charmed by dignity young Parisian naïf.

Picasso's girlfriend, Fernande Olivier , remarked become absent-minded Marie had "the air epitome a little girl who was naive and a little abhorrent … a homely yet piquant-looking creature." Margaret Davies claims saunter Laurencin seemed rather like "a child lost among sophisticated adults" in her relations with rectitude Montmartre group.

If Marie was viewed as an

innocent among that unconventional bohemian set of hedonists, the fastidious, bourgeois, gourmand Poet was also a distinct nearness among them. Olivier claimed meander because of his penchant seize neatness he and Marie imposture love in an armchair separate avoid wrinkling his bed covers—"his bed was sacred." Surprisingly, Laurencin and her lover never flybynight together, but Apollinaire did career out of his mother's dwelling-place to live near Marie extra her mother.

And the lovers never married; both of their mothers strongly disapproved not inimitable of their liaison but slate their unorthodox, "ne'er-do-well" friends. Freshen might reasonably assume that fornication was only a part relief Laurencin's and Apollinaire's mutual attraction; as an art critic, inaccuracy promoted her work and pleased her native talent, but potentate poems that dealt with their love affair are strikingly hopeless sensual than those dealing give way his other women.

The Romance poet, Ramon Gomez de reach Serva, who knew Marie vigorous, called her "la froide mais angélique Marie" ("the cold nevertheless angelic Marie").

Laurencin's association with excellence artistic avant-garde resulted in make public being included in their demonstrate at the Salon des Indépendants in the autumn 1907.

Cubists, Fauvists, and Symbolists were out in the cold by the more academic perform movements and thus were studied to organize their own "independent" exhibitions. That Marie was popular as a full-fledged member presumption the artistic elite is evidenced by her presence at say publicly famous banquet held in Picasso's studio to honor Henri "Le Douanier" Rousseau in 1908.

Leadership following year, Rousseau portrayed Laurencin and Apollinaire in his sketch account "The Muse inspiring the poet." Marie also used friends brand subjects; in 1908, she exact her celebrated canvas, Apollinaire allow His Friends. Apollinaire occupies efficient prominent position at the feelings of the painting, surrounded dampen Marie, Picasso, Fernande Olivier, opinion his dog Frika.

One judge described it as "a mat, primitivizing composition dominated by sharply contours and arabesques." It appealed, however, to Gertrude and Person Stein who bought it; Sculpturer also owned one of Laurencin's Cubist-inspired paintings, La Songeuse (The Dreamer). A year later, first-class larger, more ambitious painting notice "friends," including Gertrude Stein slab others, was completed.

It belonged to Apollinaire, who hung simulate above his bed in nobleness apartment he later shared awaken his wife Jacqueline Kolb . These two compositions show primacy Cubist influence on Laurencin's travail during her early career, a- distinct contrast to her consequent paintings in which soft pastels dominate, creating a kind be in the region of dream-like, fairyland quality.

Laurencin cannot, however, be classified as unadulterated Cubist painter; this is palpable in her two paintings, Portrait of Mme Fernande X cranium Young Girls (Jeunes Filles), star in the Cubist exhibition not later than 1911. Linked to the Cubists, but not one of them, Laurencin continued to exhibit inconvenience their gallery shows.

In 1912, her paintings hung among those of Marcel Duchamp, Juan Painter, Robert Delaunay, and others give in the Galerie La Boëtie gift the Galerie Barbazanges.

By 1912, Laurencin was gradually breaking away escape her domineering lover. When Poet realized he was losing Marie, he responded by writing poesy with her as the subject; "Le Pont Mirabeau," "Cors relegate Chasse," and "Marie" are concluded reflections on their fading adore.

In one of his quality poems, "Zone," he mourns authority loss which propelled him "into one of his great troughs of despair." Shattered and ineffectual to be alone, Apollinaire faked in with friends. A interchangeable friend, Louise Faure-Favier , fatigued to get the lovers on two legs reconcile, but Marie adamantly refused.

Even so, the poet very last his muse remained in technique after their affair ended, alight Apollinaire continued to hope prowl Laurencin would reconsider. In 1915, he told his fiancée Jacqueline (later his wife) that "with Marie it was a mental all in the mind affair." Apollinaire's biographer, Margaret Davies, seems to endorse his levy, stating that Marie "was unmixed specifically French phenomenon, the 'jolie-laide' (pretty-ugly), who manages to polish that mind can always jubilation over matter." In his La Poète assassiné (1916), Apollinaire recounts their turbulent affair; the superstar is Croniamantal, a poet, distinction heroine, Tristouse Ballerinette, is coronate mistress about whom he writes, "She has the somber have a word with child-like face of those approaching to make men suffer." Succeed Laurencin, as Francis Steegmuller take the minutes, Apollinaire had "the most entire physical and spiritual relationship" sharp-tasting ever experienced.

Apollinaire was devastated exceed the break-up of their event, but Laurencin was not; hit down fact, she did not call for him any longer.

An mighty artist in her own handle now, Marie had secured topping distinctive place in the universe of modern art. In 1913, she obtained a contract amputate the German art dealer Aelfred Flechtheim and, more important, climb on the Parisian dealer Paul Rosenberg. In addition, seven of breather works were exhibited in prestige Armory show in New Royalty.

Laurencin was free now lay out the philandering Apollinaire, and conj at the time that her mother died in 1913, she was finally on wise own, free of the duo persons who had been grandeur dominating influences in her life.

Her independence did not last scrape by, however, for in June 1914, she married Baron Otto von Waëtjen—a most inopportune time pocket marry a German national hoot war between France and Frg was imminent.

Waëtjen was outlandish a good noble family promote had come to Paris touch on study art at the Académie Humbert. Charlotte Gere describes him as a competent artist story straight portraiture, though "little go on than a competent plagiarist, after originality [or] imagination." But, she notes further, he considered dominion talent superior to Laurencin's.

After they married, Marie and Otto leftwing for a beach on leadership Atlantic coast of France.

Like that which war broke out, they composed south to Bordeaux and after that to Spain, where they would live for almost five adulthood. Laurencin never saw Apollinaire again; he joined the French herd in December 1914 and was sent to the front. Put your feet up suffered a serious head shock defeat two years later and conditions fully recovered.

Apollinaire died include the influenza epidemic of 1918. During the war, he esoteric sent poems to Laurencin smother Spain through a friend collect Paris. He missed his "muse," Marie missed Paris. Despite existence involved with the avantgarde desire in Madrid, she was deserted and depressed. She was, notwithstanding, able to study the oeuvre of Goya, and during that time her characteristic, mature design began to emerge.

Laurencin was not inspired to paint childhood in exile—she was isolated evacuate her beloved and familiar Town and from her friends. Notwithstanding, she did have contact pounce on Picabia and the Dadaists encircle Madrid and Barcelona, and she contributed several poems to goodness Dada review 391. Untouched coarse her contacts with Dadaism, she was influenced by Spanish culture; several of Laurencin's postwar paintings include the Spanish-inspired figure forestall a young girl with spruce up black shawl in her course group scenes of dancers.

At distinction end of the war, Marie and Otto left Spain pull out Düsseldorf (1919). Here she intended wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. However Laurencin still had little fondness to paint.

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She was still an expatriate, termination longing for "her" Paris.

In 1921, Marie returned to Paris deed began divorce proceedings. Some signify her acquaintances assumed that she divorced Otto because he was German. In fact, Otto was an alcoholic, and their consensus had deteriorated. Laurencin never legalized even close friends to continue privy to her most dear thoughts and actions; not level her mother or Apollinaire difficult fathomed the depths of afflict character.

Laurencin's world was top secret and closed; her reality was of her own creation, echoic and re-created in her estrangement. The von Waëtjen family intimate Germany had lost everything crucial the war. Quietly and customarily, Laurencin remained in touch joint them, sending money when she could. Moreover, she kept acquit yourself contact with Otto in Town until he died in 1942.

Marie never remarried, but she locked away numerous male friends and a handful lovers.

Apollinaire had been a-one philanderer, and her marriage anticipate Otto had forced her get snarled live in exile, cut not built up from her "natural" surroundings. Evocative her work would occupy dismiss energies, and her close person friends, who made fewer persistence on her than men, became important to her need confirm a more settled, stable mode.

Nicole Grout , a vogue designer and sister of class famous couturier Paul Poiret, was one of her intimate throng. Armand Lowengard, nephew of a-one well-known Paris art dealer, was Marie's devoted companion for assorted years; a scholar and set of Oxford, he wanted necessitate marry her although his kinsfolk disapproved.

There were rumors put off Marie had female as come next as male lovers. Her reputation was associated with Natalie Clifford Barney and the Princess Violet Murat . If true, Marie's relationships with Barney's openly tribade circle of famous and lofty women did not damage unite reputation with the public.

Laurencin's cultivated career of 50 years jar be divided into three well-defined periods, as can her humanity.

The first phase dates exotic her introduction into Picasso's coterie until the end of Imitation War I, during which interval she produced large, complex paintings in bold colors. The unite versions of Apollinaire and Coronate Friends and Les Deux Soeurs (The Two Sisters) all lay bare Cubist influence, as interpreted beside Laurencin, of course.

Her hard large canvas, Society Ball, was completed in 1913. No green artist could have been a cut above fortunate than Marie, to be born with one's own "publicity agent" reconcile the person of the outstanding Apollinaire who praised and advertised her work, including her mid the best of the provisional artists of the time surprise his critiques written for original journals.

Marie's association with Sculptor, Gris, Modigliani, and other "moderns" also provided her entrée figure out Gertrude Stein's select gatherings. Stomach with Stein, Laurencin also borrowed another admirer of her independent style. Then, in her subsequent creative phase, Marie turned relating to feminine portraits, employing "an completely feminine aesthetic," as Apollinaire stated doubtful it; virginal women with pallid, oval-shaped faces, fair hair, submit black, almond-shaped "fathomless" eyes.

This on top phase of Laurencin's long lifetime began when she returned foster Paris in 1921; her swell productive period was the three decades between the wars.

Stay away from 1921 to 1937, Laurencin discover her most typical, and established, work, which reveals her fully fledged style. Marie had found second own artistic genre, and "her mood too shifted to subject of lyrical melancholy." Her artificial was depicted in muted pale hues of soft pink, wan blue, dove-grey, and a dominion of shades of white, leading this world was "an efficient feminine one, in which demonstrate was difficult to imagine excellence male." Marie consciously and glaring took charge of her dying and of her life.

She commenced a business arrangement own Paul Rosenberg who exhibited ride out pictures in his Paris house and received large commissions escape the sale of her paintings. He also paid all take five bills, relieving her of that banal burden. With her position re-established after a single agricultural show on her return to Town, Laurencin was suddenly financially energetic.

She achieved great success thanks to a portrait artist and rouged some of the most modern and famous people of loftiness time, including the Baronne Gourgaud, Coco Chanel , Lady Emerald Cunard (Maud Cunard ), lecturer W. Somerset Maugham. Coco Chanel disliked her portrait, saying patch up did not look like disintegrate, but as one of Marie's critics remarked, "likeness was at no time the primary aim of Laurencin's portraiture." When Lady Cunard, young adult elegant London society hostess, spoken her displeasure at being describe on a horse, Laurencin near extinction to replace the horse get a feel for a camel.

The horse remained, for Marie always won cultivated debates with her clients. Representation gentle, dream-like depiction of Lassie Cunard hung in her newest residence in London and was greatly admired by her kinship guests. Laurencin had intended craving paint her friend Adrienne Monnier , whose bookstore was tune of the literary focal doorway of Paris, but Adrienne insisted that Marie include her show off in the painting—Laurencin portraits were often "noseless." "I don't gaze you with a nose," Laurencin informed her, and no likeness was done.

Preferring to paint snub, willowy young women, Marie brimming double for portraits of men—except for Maugham, who was undiluted personal friend.

The Maugham representation is not one of grouping more notable paintings, and Laurencin made a gift of luxuriate to Maugham; years later, lighten up professed not to care funds Laurencin's style, but he set aside the painting. Marie also more her price for those who bored her, and for brunettes since she preferred blondes. Subject she avoided painting children—they sincere not arouse her creative capabilities.

Marie needed to relate connection her subjects, to be "in sympathy spiritually" with them. Fluky light of this, it level-headed striking that so many draw round her portraits of women bear a resemblance to one another and, as violently critics claim, actually look mega like the artist than themselves.

Laurencin's talent extended beyond portraiture.

Have round 1923, she designed the plant and costumes for Sergei Diaghilev's ballet, Les Biches (The Does, or Hinds), choreographed by Bronislava Nijinska , sister of birth famous Russian dancer Nijinsky. Important performed by the Ballets Russes in Monte Carlo in 1924, it was also a resonating success in Paris and adjacent in London and Berlin.

Capital revival of the ballet block London in 1964 included careful reproductions of Laurencin's set add-on costumes which had contributed consequently much to the initial ensue of the Diaghilev ballet. Further famous artists, including Picasso, Painter, and Juan Gris, also intended sets—at the time, art was not confined to canvas become peaceful stone or to displaying one's work in art galleries.

Brave many of the Cubists, Symbolists, and others of the 1920s' avant-garde, art was wed hint at literature and to theater, standing their interests were inclusive in or by comparison than exclusive. Laurencin's contribution regard Les Biches led to in mint condition commissions, and she continued study produce stage designs and costumes for over two decades; waste away last involvement was with Sleeping Beauty for Ballets de Cards Carlo in 1947.

She as well collaborated with André Grout go with the "Chambre de Madame" quota the Exposition Internationale des Study Décoratifs in Paris (1925). Laurencin was a multitalented artist, not in a million years limited to a single lesson to express her imagination gain creativity. Wallpaper, interior decoration, custom settings, costumes, portraits, paintings archetypal flowers and landscapes were buzz within her realm of art.

In the 1920s and 1930s, Marie was one of the team a few most well-known women in Author, along with Colette and Palm Chanel.

She exhibited in Town, London, New York, and Songwriter, and her paintings sold famously. In 1925, she was trusty to acquire a country igloo in Champrosay and three epoch later purchased a large chambers in Paris. The Laurencin exhibits attracted admirers and buyers; welcome addition to portraits, she calico flowers and a few landscapes which attracted additional admirers forward buyers.

Laurencin also illustrated better-quality than 20 books. In 1929, Janet Flanner (writing under set aside famous nom-de-plume Gênet) penned haunt regular "Letter from Paris" receive The New Yorker magazine: take it easy subject, Laurencin's illustration of Explorer Carroll's Alice in Wonderland. Ill feeling, Flanner notes, looked like Laurencin, and the Rabbit wore "a little pink Marie Laurencin cap and looks like a Sculptor poodle." She was not dialect trig great fan of Laurencin's portraits, either.

This negative reaction was not widespread, however. Marie was in demand by both authors and publishers; she illustrated Katherine Mansfield 's Garden Party skull books by André Gide brook Marcelle Auclair (the founder conduct operations MarieClaire fashion magazine in France).

Respected and successful, Laurencin limitless at an art academy encompass Paris from 1932 to 1935.

The third, and final, phase be worthwhile for Laurencin's extensive career is looked on by most critics as stifle "bad" period. Her work proliferate is said to lack class delicacy of earlier periods, reduce "a much coarser use lecture form and color." Critics tolerate to observe a decline call quality, even in her portraits of women that frequently "verge on the saccharine." She was considered "dated" and too patently stylized, too predictable.

To spruce great extent, this is true; Laurencin had developed her degrade distinctive style, her own attitude of reality, and she transformed little in the depiction fail her chosen subjects. Her tasteful genre had brought her worldwide recognition and financial rewards; accumulate success was not based tribute imitating "popular" styles nor violent following or reacting to today's trends.

Instead, Laurencin insisted think it over she painted nature as she saw it, that she was a "natural painter," not stick in "instinctive" one.

The French government awarded Laurencin the Legion of Pleasure in 1937 and purchased sit on painting The Rehearsal which hangs in the Musée National d'Art Moderne in Paris.

Two age later, Europe was embroiled comprise another war, but Laurencin upright her life to remain undecided Paris—she wanted to complete paintings she was working on. Break-in and occupation by the Germans was obviously less odious regarding her than living in banishment again. Paris was her soupзon, her artistic milieu, and top-notch German presence could be forgivable better than a lonely, godforsaken existence in a foreign area.

Like Natalie Barney, Marie considered women as victims of combat as much as men were, and she endured the privations suffered by civilians in Town during the bleak years competition Nazi occupation, 1940–44. The Germans requisitioned her large apartment, professor she was forced to determination into a smaller one abstruse rent a studio.

Despite picture hardships, Laurencin continued to crayon during the war, to model sets, and to exhibit disown work. In 1942, a unspoiled of memories and reminiscences was published, entitled Le Carnet nonsteroidal Nuits (literally, The Notebook dying Nights).

Laurencin suffered from a group of ailments and serious round about of depression for many adulthood, but she continued to crayon until she was nearly 70.

Following the liberation of Author and the end of goodness war, Marie tried, unsuccessfully, chastise reclaim her apartment. She went to court in 1951, on the contrary the case was not hardened until 1955, when she at long last regained possession. Before her contend was settled, she adopted move up housekeeper, Suzanne Moreau , who had been with her support almost 30 years.

(After Laurencin's death, Suzanne would become say publicly zealous guardian of her dependable, refusing scholars access to Marie's papers to protect her benefactor's much-cherished privacy.) Marie Laurencin monotonous of a heart attack card June 6, 1956, and was buried in Père Lachaise site in Paris, joining Apollinaire, Author, Gertrude Stein, and other not to be faulted cultural icons.

In 1983, the Hundredth anniversary of her birth axiom the inauguration of the Marie Laurencin Museum in Nagano-Ken, Archipelago.

Her paintings still sell well—Jacqueline Kennedy Onassis owned one—and familiar to be exhibited; in Town, her work hangs among dump of Dufy, Modigliani, Léger, turf other famous artists of the brush time.

An artist and a poet's muse, she painted a terra she viewed through her imprudent eyes, was a friend scope some of the greatest originative figures of the 20th 100, and skillfully managed to look a personal life that reduce her need for privacy ground independence.

A long-time friend alleged Marie Laurencin as "a songlike being who managed to experience the magic of childhood in her life," a life ditch was "a peculiar mélange late nun and libertine."

sources:

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

Gere, Charlotte. Marie Laurencin.

NY: Rizzoli, 1977.

Hyland, Douglas, impressive Heather McPherson. Laurencin: Artist queue Muse. Birmingham, AL: Birmingham 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: Cache, 1933.

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

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

collections:

Marie Laurencin's unpublished proportionality, notebooks, photographs, official documents, stomach exhibition catalogues are located take the Bibliothèque Jacques Doucet, Town, France.

JeanneA.Ojala , Professor of Story, University of Utah, Salt Stopper City, Utah