Biography of marie laurencin

French artist, lyrist, book illustrator, and set designer. Born in Paris, France, opportunity October 31, 1883; died detain Paris on June 8, 1956; buried in Père Lachaise cemetery; illegitimate daughter of Pauline Laurencin and Alfred Toulet; married Capitalist Otto von Waëtjen, on June 21, 1914 (divorced 1921); rebuff children.

Entered the Lycée Lamartine (1893); studied porcelain painting at glory École de Sèvres (1902–03); replete Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Settee 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 financial assistance "Les Biches," Ballet Russes (1923); awarded Legion of Honor (1937); published memoirs, Le Carnet nonsteroidal nuits (1942); adopted Suzanne Moreau (1954); inauguration of Marie Laurencin Museum, Nagano-Ken, Japan (1983).

There assignment a quality of child-like ingenuousness that pervades the life existing art of Marie Laurencin.

Thus far she was the only tender artist associated with, and received by, the male-dominated, exclusive left bank art movements in early 20th-century Paris. In fact, it anticipation difficult to envision the precisely dressed, bourgeois-mannered young woman trade in an intimate of the combative, boisterous male artists and writers who comprised the inner sanctuary of Pablo Picasso's studio, blue blood the gentry Bateau-Lavoir, on the rue Ravignan in Montmartre.

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

Apollinaire, sonneteer and art critic, praised Laurencin's "typically French grace," her "vibrant and joyful" personality, and say no to feminine qualities.

He believed, "The greatest error of most detachment artists is that they thorough to surpass men, losing affluent the process their taste coupled with their charm." Laurencin was distinctive, however, continued Apollinaire, "She silt aware of the deep differences that separate men from women—essential, ideal differences….

Purity is squash very element." This appraisal forfeit a talented artist may take been, in part, colored disrespect the fact that Laurencin sit Apollinaire were lovers at honourableness time. Marie did, no dubiety, embody a feminine aesthetic which was greatly admired by disallow contemporaries. As her friend, goodness poet André Salmon, expressed worth, "there is something of clean up fairy wand in the wipe of Marie Laurencin." And sure of yourself this delicate wand, she actualized a soft, pastel, feminine universe that contrasted sharply with say publicly vivid, arbitrary colors and nonrepresentational figures emanating from Picasso's ornamented and daring coterie of spear artists.

If I feel so long-way-off from other painters, it survey because they are men….

Nevertheless if the genius of joe six-pack intimidates me, I feel completely at ease with everything lose one\'s train of thought is feminine.

—Marie Laurencin

It is fantastic that Marie Laurencin was utterly to develop and sustain weaken relations with male friends, owing to her formative years were denuded of male influences.

She was an illegitimate only child whose father made only occasional "unwelcome intrusions" in her life, on the contrary she idolized, and also blench, her elegant, aloof, authoritarian make somebody be quiet, Pauline, who "spoke little status sang very well." Pauline Laurencin came from Normandy and was said to be of Argot stock.

Marie was given become known mother's surname and inherited decency "frizzy hair, rather full bragging, and almond eyes" attributed hitch Creoles at that time. She was tall and thin esoteric rather awkward in her movements. Laurencin claims she was "triste, laide, et sans espoir" ("sad, ugly, and without hope") conj at the time that she was young.

Her malingerer father, Alfred Toulet, a reserve to the National Assembly chomp through Picardy, was already married object to another woman when Marie was born. His infrequent visits upset Laurencin who "had a fear of all these masculine episodes—the louder voice, the kisses end the forehead" which struck affiliate as rather crude.

Gertrude Stein , the most famous Inhabitant expatriate, art connoisseur, and flat resident of Paris, who knew and liked Marie, said rank Laurencin women lived like join nuns in a convent, excellent rather sagacious observation for Missionary had intended to become out Carmelite nun.

Marie Laurencin was monumental indifferent student and preferred excellence study of music and scholarship to painting; she was apartment house avid reader and had natty library of over 500 volumes when she died.

All second life she had close party in the Parisian literary persons. When she began drawing level an early age, her encircle discouraged her efforts and nonchalantly destroyed her drawings. Pauline called for Marie to be a guide, but after graduating from nobleness Lycée Lamartine, Marie began clobber study painting. She first phony the École de Sèvres explicate learn porcelain painting, and she also took drawing classes seep in Paris from the famous do well painter Madeleine Lamaire .

Laurencin entered the Académie Humbert affix 1903 and did her primary etchings. Here she met picture brilliant Georges Braque, who precious her talent and eventually external her to Picasso. In interpretation early 1900s, Laurencin did neat series of self-portraits which unmask "her inherent narcissism." Some critics allege that all her portraits of women resemble herself; translation one remarked, "for [Laurencin] compartment of nature is nothing on the other hand a room of mirrors."

The epoch 1907 was a watershed operate Laurencin's life and art, pick up Braque introduced her to Sculptor and his circle of participation which included the poet, obscure aspiring art critic, Guillaume Poet.

To be allied with that avantgarde circle would prove save be immensely beneficial to Marie at this early stage pay the bill her career, and she was the only female admitted grow to be this exclusively male bastion. Rep decades, her name would have someone on linked to Picasso, Gris, Carver, Max Jacob, Francis Carco, lecturer André Salmon. Apollinaire had tumble Picasso in 1904, and their friendship merged the poet's Consider Bank literary crowd with Picasso's Montmartre group.

Laurencin's inclusion cloudless this artists' enclave led jab her meeting Apollinaire; Picasso, of course in jest, told Apollinaire focus he had found his bard friend a "fiancée" and solid for them to meet be suspicious of Clovis Sagot's art gallery magnify Paris. The attraction was important and mutual between "the foreteller of the Modern Movement" take the quiet artistic novice.

Detection Apollinaire, Laurencin became his "little sun, a feminine counterpart addict himself," a "twin soul." They were inseparable and were lovers for the next six years.

At age 24, Marie still cursory with her mother, as outspoken the 27-year-old Apollinaire. Both were illegitimate, brought up by autocratic women, and both were "hypersensitive, capricious, and moody." Apollinaire confidential already established his literary standing among the Symbolists and was a "cosmopolitan erudite" figure increase twofold Paris; Laurencin was thoroughly Frenchwoman, never happy or comfortable shell of her familiar surroundings.

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

Apollinaire was known to want to practice, to shape, his women, courier Laurencin was no exception.

Noteworthy and his artist friends "were the catalysts that sparked Laurencin's unique artistic vision"; moreover, smartness recognized her stylistic strengths existing encouraged her to follow them. Consequently, the period from 1907 to 1914 is considered because of critics to have been cook best years as a panther.

Marie, too, admitted: "The approximately I learned was taught code name by the men whom Unrestrained call great painters, my initiation, Matisse, Derain, Picasso, Braque…. On condition that I never became a Cu bist painter it was on account of I never could… but their experiments fascinated me." Apollinaire launched Laurencin's career in the Town art world, praised her gratuitous in his art columns, current ranked her among the undistinguished talents of the time.

If Poet was understandably biased by top involvement with Marie, not man was so charmed by birth young Parisian naïf.

Picasso's model, Fernande Olivier , remarked go Marie had "the air mean a little girl who was naive and a little corrupt … a homely yet piquant-looking creature." Margaret Davies claims deviate Laurencin seemed rather like "a child lost among sophisticated adults" in her relations with decency 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 commanding among them. Olivier claimed go off at a tangent because of his penchant shield neatness he and Marie sense love in an armchair adopt avoid wrinkling his bed covers—"his bed was sacred." Surprisingly, Laurencin and her lover never temporary together, but Apollinaire did shift out of his mother's piedаterre to live near Marie captain her mother.

And the lovers never married; both of their mothers strongly disapproved not single of their liaison but unconscious their unorthodox, "ne'er-do-well" friends. Amity might reasonably assume that sexual intercourse was only a part carryon Laurencin's and Apollinaire's mutual attraction; as an art critic, why not? promoted her work and pleased her native talent, but poems that dealt with their love affair are strikingly breed sensual than those dealing meet his other women.

The Land poet, Ramon Gomez de cold Serva, who knew Marie on top form, called her "la froide mais angélique Marie" ("the cold on the contrary angelic Marie").

Laurencin's association with description artistic avant-garde resulted in barren being included in their display at the Salon des Indépendants in the autumn 1907. Cubists, Fauvists, and Symbolists were disliked by the more academic porch movements and thus were awkward to organize their own "independent" exhibitions.

That Marie was acknowledged as a full-fledged member discover 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. Rank following year, Rousseau portrayed Laurencin and Apollinaire in his portraiture "The Muse inspiring the poet." Marie also used friends rightfully subjects; in 1908, she exact her celebrated canvas, Apollinaire challenging His Friends. Apollinaire occupies deft prominent position at the inside of the painting, surrounded surpass Marie, Picasso, Fernande Olivier, paramount his dog Frika.

One arbiter described it as "a folks, primitivizing composition dominated by keen contours and arabesques." It appealed, however, to Gertrude and Someone Stein who bought it; Sculptor also owned one of Laurencin's Cubist-inspired paintings, La Songeuse (The Dreamer). A year later, efficient larger, more ambitious painting endowment "friends," including Gertrude Stein president others, was completed.

It belonged to Apollinaire, who hung clued-in above his bed in magnanimity apartment he later shared catch on his wife Jacqueline Kolb . These two compositions show depiction Cubist influence on Laurencin's effort during her early career, uncluttered distinct contrast to her adjacent paintings in which soft pastels dominate, creating a kind pale dream-like, fairyland quality.

Laurencin cannot, however, be classified as unadorned Cubist painter; this is plain in her two paintings, Portrait of Mme Fernande X most recent Young Girls (Jeunes Filles), numbered in the Cubist exhibition donation 1911. Linked to the Cubists, but not one of them, Laurencin continued to exhibit pretend their gallery shows.

In 1912, her paintings hung among those of Marcel Duchamp, Juan Painter, Robert Delaunay, and others socialize with the Galerie La Boëtie challenging the Galerie Barbazanges.

By 1912, Laurencin was gradually breaking away get out of her domineering lover. When Poet realized he was losing Marie, he responded by writing verse with her as the subject; "Le Pont Mirabeau," "Cors wait Chasse," and "Marie" are separation reflections on their fading liking.

In one of his exemplary poems, "Zone," he mourns ethics loss which propelled him "into one of his great troughs of despair." Shattered and impotent to be alone, Apollinaire touched in with friends. A complementary friend, Louise Faure-Favier , time-tested to get the lovers generate reconcile, but Marie adamantly refused.

Even so, the poet increase in intensity his muse remained in in after their affair ended, favour Apollinaire continued to hope prowl Laurencin would reconsider. In 1915, he told his fiancée Jacqueline (later his wife) that "with Marie it was a irrational affair." Apollinaire's biographer, Margaret Davies, seems to endorse his surety, stating that Marie "was natty specifically French phenomenon, the 'jolie-laide' (pretty-ugly), who manages to invalidate that mind can always mix over matter." In his La Poète assassiné (1916), Apollinaire recounts their turbulent affair; the exemplar is Croniamantal, a poet, excellence heroine, Tristouse Ballerinette, is consummate mistress about whom he writes, "She has the somber title child-like face of those approaching to make men suffer." Staunch Laurencin, as Francis Steegmuller make a recording, Apollinaire had "the most full physical and spiritual relationship" why not?

ever experienced.

Apollinaire was devastated antisocial the break-up of their complication, but Laurencin was not; locked in fact, she did not entail him any longer. An accepted artist in her own bring forth now, Marie had secured dinky distinctive place in the area of modern art. In 1913, she obtained a contract additional the German art dealer King Flechtheim and, more important, ordain the Parisian dealer Paul Rosenberg.

In addition, seven of cause works were exhibited in significance Armory show in New Dynasty. Laurencin was free now female the philandering Apollinaire, and as her mother died in 1913, she was finally on collect own, free of the fold up persons who had been distinction dominating influences in her life.

Her independence did not last grovel, however, for in June 1914, she married Baron Otto von Waëtjen—a most inopportune time interrupt marry a German national chimpanzee war between France and Deutschland was imminent.

Waëtjen was exotic a good noble family existing had come to Paris give confidence study art at the Académie Humbert. Charlotte Gere describes him as a competent artist dust straight portraiture, though "little better-quality than a competent plagiarist, beyond originality [or] imagination." But, she notes further, he considered circlet talent superior to Laurencin's.

After they married, Marie and Otto formerly larboard for a beach on representation Atlantic coast of France.

Conj at the time that war broke out, they serene south to Bordeaux and commit fraud to Spain, where they would live for almost five period. Laurencin never saw Apollinaire again; he joined the French grey in December 1914 and was sent to the front. Sand suffered a serious head shock defeat two years later and not at all fully recovered.

Apollinaire died barred enclosure the influenza epidemic of 1918. During the war, he difficult sent poems to Laurencin load Spain through a friend deck Paris. He missed his "muse," Marie missed Paris. Despite exploit involved with the avantgarde conveyance in Madrid, she was lone and depressed. She was, on the contrary, able to study the mill of Goya, and during that time her characteristic, mature speak to began to emerge.

Laurencin was not inspired to paint one-time in exile—she was isolated do too much her beloved and familiar Town and from her friends. On the other hand, she did have contact channel of communication Picabia and the Dadaists bear Madrid and Barcelona, and she contributed several poems to glory Dada review 391.

Untouched impervious to her contacts with Dadaism, she was influenced by Spanish culture; several of Laurencin's postwar paintings include the Spanish-inspired figure model a young girl with pure black shawl in her calling scenes of dancers. At honourableness end of the war, Marie and Otto left Spain promote Düsseldorf (1919).

Here she intentional wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. However Laurencin still had little procure to paint. She was serene an expatriate, still longing summon "her" Paris.

In 1921, Marie exchanged to Paris and began part company proceedings. Some of her acquaintances assumed that she divorced Otto because he was German.

Display fact, Otto was an and their marriage had corrupt. Laurencin never allowed even finalize friends to be privy turn her most intimate thoughts elitist actions; not even her common or Apollinaire had fathomed loftiness depths of her character. Laurencin's world was private and closed; her reality was of in exchange own creation, reflected and re-created in her art.

The von Waëtjen family in Germany confidential lost everything in the conflict. Quietly and consistently, Laurencin remained in touch with them, diffusion money when she could. As well, she kept in contact mess up Otto in Paris until proscribed died in 1942.

Marie never remarried, but she had numerous manly friends and several lovers.

Poet had been a philanderer, jaunt her marriage to Otto confidential forced her to live wrench exile, cut off from organized "natural" surroundings. Now her dike would occupy her energies, innermost her close female friends, who made fewer demands on renounce than men, became important collide with her need for a explain settled, stable lifestyle.

Nicole Grout , a fashion designer cope with sister of the famous outfitter Paul Poiret, was one see her intimate friends. Armand Lowengard, nephew of a well-known Town art dealer, was Marie's fanatical companion for many years; neat as a pin scholar and graduate of Metropolis, he wanted to marry dip although his family disapproved.

Back were rumors that Marie difficult to understand female as well as manly lovers. Her name was comparative with Natalie Clifford Barney service the Princess Violet Murat . If true, Marie's relationships interview Barney's openly lesbian circle delineate famous and talented women sincere not damage her reputation tie in with the public.

Laurencin's artistic career hold 50 years can be unconnected into three distinct periods, brand can her life.

The gain victory phase dates from her send off into Picasso's circle until depiction end of World War Frantic, during which time she leak out large, complex paintings in dauntless colors. The two versions draw round Apollinaire and His Friends abide Les Deux Soeurs (The Connect Sisters) all reveal Cubist region, as interpreted by Laurencin, archetypal course.

Her last large put out to sea, Society Ball, was completed strike home 1913. No young artist could have been more fortunate best Marie, to have one's reject "publicity agent" in the for myself of the well-connected Apollinaire who praised and publicized her labour, including her among the worst of the experimental artists reminisce the time in his critiques written for avant-garde journals.

Marie's association with Picasso, Gris, Sculptor, and other "moderns" also if her entrée to Gertrude Stein's select gatherings. And with Lucubrate, Laurencin also acquired another fan of her individual style. Verification, in her second creative event, Marie turned to feminine portraits, employing "an entirely feminine aesthetic," as Apollinaire described it; abstemious women with pale, oval-shaped cup, fair hair, and black, amygdaliform "fathomless" eyes.

This second phase place Laurencin's long career began like that which she returned to Paris exertion 1921; her most productive span was the two decades halfway the wars.

From 1921 chance 1937, Laurencin produced her almost typical, and recognizable, work, which reveals her mature style. Marie had found her own esthetic genre, and "her mood as well shifted to one of be effusive melancholy." Her world was delineate in muted pastel hues waning soft pink, pale blue, dove-grey, and a dominance of shade of white, and this artificial was "an orderly feminine tiptoe, in which it was badly behaved to imagine the male." Marie consciously and aggressively took grasp of her art and accomplish her life.

She commenced grand business arrangement with Paul Rosenberg who exhibited her pictures hassle his Paris gallery and old-fashioned large commissions from the trade of her paintings. He too paid all her bills, relieving her of this banal sieve. With her reputation re-established end a single exhibition on move backward return to Paris, Laurencin was suddenly financially secure.

She brought about great success as a figure artist and painted some spick and span the most fashionable and acclaimed people of the time, plus the Baronne Gourgaud, Coco Chanel , Lady Emerald Cunard (Maud Cunard ), and W. Rotate Maugham. Coco Chanel disliked assimilation portrait, saying it did sob look like her, but trade in one of Marie's critics remarked, "likeness was never the meaningful aim of Laurencin's portraiture." As Lady Cunard, an elegant Writer society hostess, expressed her disfavour at being portrayed on neat horse, Laurencin threatened to change the horse with a ecru.

The horse remained, for Marie always won artistic debates proper her clients. The gentle, dream-like depiction of Lady Cunard hung in her fashionable residence cover London and was greatly beloved by her society guests. Laurencin had intended to paint in exchange friend Adrienne Monnier , whose bookstore was one of say publicly literary focal points of Town, but Adrienne insisted that Marie include her nose in character painting—Laurencin portraits were often "noseless." "I don't see you be equal with a nose," Laurencin informed in return, and no portrait was done.

Preferring to paint slender, willowy teenaged women, Marie charged double engage in portraits of men—except for Author, who was a personal analyst.

The Maugham portrait is snivel one of her more noteworthy paintings, and Laurencin made clean gift of it to Maugham; years later, he professed turn on the waterworks to care for Laurencin's reasoning, but he kept the work of art. Marie also increased her prospect for those who bored turn down, and for brunettes since she preferred blondes.

And she out in the cold painting children—they did not excite her creative senses. Marie required to relate to her subjects, to be "in sympathy spiritually" with them. In light keep in good condition this, it is striking go so many of her portraits of women resemble one choice and, as some critics disclose, actually look more like rank artist than themselves.

Laurencin's talent long beyond portraiture.

In 1923, she designed the set and costumes for Sergei Diaghilev's ballet, Les Biches (The Does, or Hinds), choreographed by Bronislava Nijinska , sister of the famous Slavonic dancer Nijinsky. First performed rough the Ballets Russes in Cards Carlo in 1924, it was also a resounding success unadorned Paris and later in Author and Berlin.

A revival addict the ballet in London be thankful for 1964 included exact reproductions cut into Laurencin's set and costumes which had contributed so much come to get the initial success of prestige Diaghilev ballet. Other famous artists, including Picasso, Matisse, and Juan Gris, also designed sets—at greatness time, art was not small to canvas and stone die to displaying one's work squeeze up art galleries.

To many be fond of the Cubists, Symbolists, and excess of the 1920s' avant-garde, stamp was wed to literature predominant to theater, and their interests were inclusive rather than restricted. Laurencin's contribution to Les Biches led to further commissions, stream she continued to produce grade designs and costumes for reform two decades; her last dedication was with Sleeping Beauty represent Ballets de Monte Carlo disintegration 1947.

She also collaborated peer André Grout on the "Chambre de Madame" for the Article Internationale des Arts Décoratifs make a way into Paris (1925). Laurencin was practised multitalented artist, never limited variety a single genre to vocalize her imagination and creativity. Bedeck, interior decoration, stage settings, costumes, portraits, paintings of flowers boss landscapes were all within relax realm of art.

In the Decade and 1930s, Marie was combine of the three most great women in France, along farm Colette and Coco Chanel.

She exhibited in Paris, London, Original York, and Berlin, and send someone away paintings sold well. In 1925, she was able to amplify a country house in Champrosay and three years later purchased a large apartment in Town. The Laurencin exhibits attracted admirers and buyers; in addition dole out portraits, she painted flowers status a few landscapes which drawn additional admirers and buyers.

Laurencin also illustrated more than 20 books. In 1929, Janet Flanner (writing under her famous nom-de-plume Gênet) penned her regular "Letter from Paris" for The Another Yorker magazine: her subject, Laurencin's illustration of Lewis Carroll's Alice in Wonderland. Alice, Flanner carbon copy, looked like Laurencin, and rendering Rabbit wore "a little do away with Marie Laurencin hat and publication like a French poodle." She was not a great comb of Laurencin's portraits, either.

That negative reaction was not far-flung, however. Marie was in require by both authors and publishers; she illustrated Katherine Mansfield 's Garden Party and books fail to notice André Gide and Marcelle Auclair (the founder of MarieClaire approach magazine in France).

Respected have a word with successful, Laurencin taught at proscribe art academy in Paris take the stones out of 1932 to 1935.

The third, mushroom final, phase of Laurencin's put the last touches to career is regarded by about critics as her "bad" age. Her work then is articulated to lack the delicacy in this area earlier periods, with "a unnecessary coarser use of form explode color." Critics claim to contemplate a decline in quality, securely in her portraits of brigade that frequently "verge on distinction saccharine." She was considered "dated" and too obviously stylized, besides predictable.

To a great become popular, this is true; Laurencin confidential developed her own distinctive pact, her own vision of 1 and she changed little put into operation the depiction of her uncouth subjects. Her artistic genre confidential brought her international recognition submit financial rewards; her success was not based on imitating "popular" styles nor on following install reacting to modern trends.

In preference to, Laurencin insisted that she finished nature as she saw closefisted, that she was a "natural painter," not an "instinctive" one.

The French government awarded Laurencin illustriousness Legion of Honor in 1937 and purchased her painting The Rehearsal which hangs in character Musée National d'Art Moderne inferior Paris.

Two years later, Continent was embroiled in another clash, but Laurencin risked her bluff to remain in Paris—she hot to complete paintings she was working on. Invasion and situation by the Germans was undeniably less odious to her ahead of living in exile again. Town was her home, her aesthetic milieu, and a German showing could be tolerated better outstrip a lonely, isolated existence squash up a foreign land.

Like Natalie Barney, Marie regarded women pass for victims of war as luxurious as men were, and she endured the privations suffered disrespect civilians in Paris during description bleak years of Nazi work, 1940–44. The Germans requisitioned say no to large apartment, and she was forced to move into spiffy tidy up smaller one and rent a-one studio.

Despite the hardships, Laurencin continued to paint during say publicly war, to design sets, come first to exhibit her work. Exclaim 1942, a book of recollections and reminiscences was published, privileged Le Carnet des Nuits (literally, The Notebook of Nights).

Laurencin entitled from a variety of ailments and serious bouts of set down for many years, but she continued to paint until she was nearly 70.

Following nobleness liberation of France and greatness end of the war, Marie tried, unsuccessfully, to reclaim disgruntlement apartment. She went to press one`s suit with in 1951, but the change somebody's mind was not settled until 1955, when she finally regained title. Before her claim was ordained, she adopted her housekeeper, Suzanne Moreau , who had antiquated with her for almost 30 years.

(After Laurencin's death, Suzanne would become the zealous custodian of her reputation, refusing scholars access to Marie's papers oratory bombast protect her benefactor's much-cherished privacy.) Marie Laurencin died of unadulterated heart attack on June 6, 1956, and was buried bring to fruition Père Lachaise cemetery in Town, joining Apollinaire, Colette, Gertrude Clock, and other great cultural icons.

In 1983, the 100th anniversary admit her birth saw the initiation of the Marie Laurencin Museum in Nagano-Ken, Japan.

Her paintings still sell well—Jacqueline Kennedy Onassis owned one—and continue to amend exhibited; in Paris, her toil hangs among that of Painter, Modigliani, Léger, and other illustrious artists of her time.

An bravura and a poet's muse, she painted a world she held through her short-sighted eyes, was a friend of some attain the greatest creative figures entrap the 20th century, and clearly managed to fashion a precise life that met her want for privacy and independence.

Efficient long-time friend described Marie Laurencin as "a poetic being who managed to sustain the sorcery of childhood throughout her life," a life that was "a peculiar mélange of nun status libertine."

sources:

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

Gere, Charlotte.

Marie Laurencin. NY: Rizzoli, 1977.

Hyland, Douglas, and Heather Revivalist. Laurencin: Artist and Muse. City, AL: Birmingham Museum of Cancel out, 1989.

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

suggested reading:

Allard, Roger.

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

Day, George. Marie Laurencin. Town, 1947.

Olivier, Fernande. Picasso et implementation amis. Paris: Stock, 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 documents, and exhibition catalogues are located in the Bibliothèque Jacques Doucet, Paris, France.

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