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Marie Laurencin

1883 - 1956

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Kortfattad information

  • Lifespan: 73 years
  • Born: 1883, Paris, Frankrike
  • Copyright status: Public domain
  • Died: 1956
  • Creative periods: early modern
  • Also known as: Louise Lalanne
  • Mer…
  • Movements: cubism
  • Works on APS: 101
  • Nationality: Frankrike
  • Top 3 works:
    • The Visit
    • Fantaisie (1919)
    • Le Bal élégant ou la danse à la campagne (1913)
  • Art period: Modernism
  • Top-ranked work: The Visit

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Marie Laurencin föddes i vilken stad?
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Laurencin studerade främst vad när hon var ung?
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Marie Laurencin (1883–1956): A Parisian Muse

  • Early Life and Education
  • Embracing Modernity: Cubism and the Section d’Or
  • A Feminine Vision: Style and Themes
  • Later Years and Legacy

Early Life and Education

Marie Laurencin was born in Paris, France, on October 31, 1883. Her upbringing was marked by a singular circumstance: her father died early in his life, leaving her mother to raise her alone—a formative experience that instilled in Laurencin a profound appreciation for independence and resilience. Pauline-Mélanie Laurencin, a domestic servant, diligently ensured Marie received a foundational education in technique at Sèvres porcelain manufactory before gravitating towards oil painting and enrolling at the Académie Humbert. This formal training provided her with invaluable skills but it was her immersion into the vibrant artistic landscape of Montmartre that truly ignited her creative spirit—a milieu teeming with revolutionary ideas and daring experimentation. Laurencin’s maternal heritage, though debated, contributed to a sense of identity she carried throughout her life, reflecting the broader cultural currents of the era.

Embracing Modernity: Cubism and the Section d’Or

Laurencin swiftly found herself drawn to the groundbreaking concepts circulating within the circles of Pablo Picasso and Guillaume Apollinaire—artists who would profoundly shape her artistic trajectory. She became an integral part of the *Section d’Or*, a collective dedicated to exploring the principles of Cubism, alongside luminaries like Jean Metzinger, Albert Gleizes, Robert Delaunay, and Henri Le Fauconnier. Exhibiting at the Salon des Indépendents and the Salon d’Automne between 1910 and 1912, Laurencin demonstrated a clear engagement with the fragmented forms and geometric explorations characteristic of the movement—a stylistic choice that would define her early work. Simultaneously, she cultivated kinship within Natalie Clifford Barney’s salon—a haven for American expatriates and members of the lesbian community—participating in an artistic and intellectual exchange that fostered her perspective on gender roles and societal expectations. Her fascination with Cubism wasn't merely aesthetic; it represented a conscious rejection of traditional conventions and a embrace of radical innovation.

A Feminine Vision: Style and Themes

Laurencin transcended the rigid structures of Cubism, developing a style distinctly her own—one imbued with grace, delicacy, and an unwavering focus on portraying women. She softened the harsh angles and stark geometries favored by Picasso and Braque, opting instead for curvilinear forms and a pastel palette that evoked ethereal beauty. Her canvases were populated primarily by female figures—often depicted in groups or intimate portraits—radiating an aura of serenity and quiet contemplation. Laurencin’s artistic vision deliberately challenged prevailing stereotypes about femininity, presenting women as subjects of profound sensitivity and emotional nuance—a courageous assertion of the female gaze within a predominantly male-dominated art world. Her stylistic choices reflected influences from Rococo painting and Impressionism, blending tradition with modernity to create a singular aesthetic expression.

Later Years and Legacy

The outbreak of World War I disrupted Laurencin’s life and career, prompting her to seek refuge in Spain with her husband, Baron Otto von Waetjen—a circumstance that underscored the societal constraints faced by women during this period. Following their divorce in 1920, she returned to Paris and enjoyed a period of considerable success throughout the 1920s and 30s, continuing to refine her signature style and exploring new avenues of artistic exploration. Despite facing economic hardships, Laurencin persevered, teaching art and maintaining her passion for painting—a testament to her unwavering dedication to her craft. Today, Marie Laurencin is recognized as a pivotal figure in early 20th-century art—one of the few female Cubist painters who defied gender norms and expanded the boundaries of modernism. Her enduring legacy resides not only in her stunning paintings but also in her pioneering role as a woman artist challenging societal expectations and advocating for artistic freedom. Laurencin’s museum in Tokyo houses over 500 of her works, ensuring that her unique vision continues to inspire generations of artists.

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Mest populära konstverk

The Visit — Marie Laurencin
The Visit
Fantaisie (1919) — Marie Laurencin
Fantaisie (1919)
Le Bal Élégant Ou La Danse À La Campagne (1913) — Marie Laurencin
Le Bal élégant ou la danse à la campagne (1913)
Autoportrait Crayon Sur Papier (1912) — Marie Laurencin
Autoportrait crayon sur papier (1912)
La Jeune Fille Au Palmier (1915) — Marie Laurencin
La jeune fille au palmier (1915)
Girl With A Dove — Marie Laurencin
Girl with a Dove
Autoportrait (1912) — Marie Laurencin
Autoportrait (1912)
Trois Jeunes Femmes (1953) — Marie Laurencin
Trois jeunes femmes (1953)
L'enfant À La Trompette (1950) — Marie Laurencin
L'enfant à la trompette (1950)
Untitled (569) — Marie Laurencin
Untitled (569)
Le Baiser (1927) — Marie Laurencin
Le baiser (1927)
Femme À La Rose (1930) — Marie Laurencin
Femme à la rose (1930)
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