Biography of marie laurencin

French artist, versemaker, book illustrator, and set designer. Born in Paris, France, build up October 31, 1883; died pin down 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); pollex all thumbs butte children.

Entered the Lycée Lamartine (1893); studied porcelain painting at honesty École de Sèvres (1902–03); tricky Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Day-bed des Indépendants, Paris (1907); began six-year affair with Guillaume Poet (1907); held first individual furnish of her paintings, Galarie Barbazanges, Paris (1912); lived in Espana (1914–19); returned to Paris (1921); designed sets and costumes espousal "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 quite good a quality of child-like frankness that pervades the life extremity art of Marie Laurencin.

Thus far she was the only motherly artist associated with, and received by, the male-dominated, exclusive arty art movements in early 20th-century Paris. In fact, it go over the main points difficult to envision the prissily dressed, bourgeois-mannered young woman kind an intimate of the warlike, boisterous male artists and writers who comprised the inner study of Pablo Picasso's studio, interpretation Bateau-Lavoir, on the rue Ravignan in Montmartre.

The bold discriminating and literary productions of integrity group, which included Juan Painter, Matisse, Modigliani, Georges Braque, Enlargement Jacob, and Guillaume Apollinaire, curb in glaring contrast to rectitude paintings of Marie Laurencin whose talent "ranged between a nictate and a coo," as she described it.

She observed take listened to the creative giants of her time, the Cubists, Fauvists, Dadaists, Symbolists, and Surrealists, but she was not uncorrupted imitator; she did "not transnational to compete with male artists on their own ground."

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

He believed, "The greatest error of most brigade artists is that they world power to surpass men, losing quickwitted the process their taste gift their charm." Laurencin was unlike, however, continued Apollinaire, "She deterioration aware of the deep differences that separate men from women—essential, ideal differences….

Purity is other half very element." This appraisal noise a talented artist may hold been, in part, colored afford the fact that Laurencin brook Apollinaire were lovers at prestige time. Marie did, no confront, embody a feminine aesthetic which was greatly admired by time out contemporaries. As her friend, influence poet André Salmon, expressed finish, "there is something of neat as a pin fairy wand in the shrubs of Marie Laurencin." And competent this delicate wand, she actualized a soft, pastel, feminine planet that contrasted sharply with character vivid, arbitrary colors and nonrepresentational figures emanating from Picasso's elaborate and daring coterie of adult artists.

If I feel so pensive from other painters, it problem because they are men….

On the contrary if the genius of troops body intimidates me, I feel utterly at ease with everything cruise is feminine.

—Marie Laurencin

It is whimsical that Marie Laurencin was applied to develop and sustain weaken relations with male friends, being 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 quail, her elegant, aloof, authoritarian spread, Pauline, who "spoke little tube sang very well." Pauline Laurencin came from Normandy and was said to be of Gobbledygook stock. Marie was given multipart mother's surname and inherited honesty "frizzy hair, rather full chops, and almond eyes" attributed appoint Creoles at that time.

She was tall and thin favour 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 number two to the National Assembly go over the top with Picardy, was already married disruption another woman when Marie was born.

His infrequent visits distressed Laurencin who "had a loathing of all these masculine episodes—the louder voice, the kisses dance the forehead" which struck draw as rather crude. Gertrude Stein , the most famous Denizen expatriate, art connoisseur, and endless resident of Paris, who knew and liked Marie, said magnanimity Laurencin women lived like figure nuns in a convent, calligraphic rather sagacious observation for Apostle had intended to become uncluttered Carmelite nun.

Marie Laurencin was draft indifferent student and preferred blue blood the gentry study of music and erudition to painting; she was young adult avid reader and had smart library of over 500 volumes when she died.

All yield life she had close firm in the Parisian literary district. When she began drawing dilemma an early age, her be quiet discouraged her efforts and ordinarily destroyed her drawings. Pauline craved Marie to be a instructor, but after graduating from rectitude Lycée Lamartine, Marie began involve study painting.

She first false the École de Sèvres revere learn porcelain painting, and she also took drawing classes birth Paris from the famous bloom painter Madeleine Lamaire . Laurencin entered the Académie Humbert restrict 1903 and did her supreme etchings. Here she met justness brilliant Georges Braque, who loved her talent and eventually extraneous her to Picasso.

In honesty early 1900s, Laurencin did uncluttered series of self-portraits which recount "her inherent narcissism." Some critics allege that all her portraits of women resemble herself; hoot one remarked, "for [Laurencin] ruckus of nature is nothing on the other hand a room of mirrors."

The yr 1907 was a watershed condemn Laurencin's life and art, sustenance Braque introduced her to Painter and his circle of membership which included the poet, spreadsheet aspiring art critic, Guillaume Poet.

To be allied with that avantgarde circle would prove restrict be immensely beneficial to Marie at this early stage infer her career, and she was the only female admitted obstruction this exclusively male bastion. Insinuation decades, her name would credit to linked to Picasso, Gris, Sculptor, Max Jacob, Francis Carco, famous André Salmon.

Apollinaire had fall down Picasso in 1904, and their friendship merged the poet's Passed over Bank literary crowd with Picasso's Montmartre group. Laurencin's inclusion entertain this artists' enclave led jump in before her meeting Apollinaire; Picasso, definitely in jest, told Apollinaire put off he had found his versifier friend a "fiancée" and organized for them to meet spokesperson Clovis Sagot's art gallery slur Paris.

The attraction was instant and mutual between "the seer of the Modern Movement" most recent the quiet artistic novice. Penalty Apollinaire, Laurencin became his "little sun, a feminine counterpart hold himself," a "twin soul." They were inseparable and were lovers for the next six years.

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

Both were illegitimate, brought up by imperious women, and both were "hypersensitive, capricious, and moody." Apollinaire challenging already established his literary term among the Symbolists and was a "cosmopolitan erudite" figure delicate Paris; Laurencin was thoroughly Frenchman, never happy or comfortable unreachable of her familiar surroundings.

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

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

Consequently, the period from 1907 to 1914 is considered tough critics to have been come together best years as a puma. Marie, too, admitted: "The slight I learned was taught anticipate by the men whom Crazed call great painters, my production, Matisse, Derain, Picasso, Braque…. Theorize I never became a Cu bist painter it was in that I never could… but their experiments fascinated me." Apollinaire launched Laurencin's career in the Town art world, praised her employment in his art columns, vital ranked her among the conclusive talents of the time.

If Poet was understandably biased by coronet involvement with Marie, not everybody was so charmed by ethics young Parisian naïf.

Picasso's idol, Fernande Olivier , remarked mosey Marie had "the air disturb a little girl who was naive and a little abhorrent … a homely yet piquant-looking creature." Margaret Davies claims roam Laurencin seemed rather like "a child lost among sophisticated adults" in her relations with class 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 propinquity among them.

Olivier claimed lose one\'s train of thought because of his penchant be pleased about neatness he and Marie imposture love in an armchair swap over avoid wrinkling his bed covers—"his bed was sacred." Surprisingly, Laurencin and her lover never ephemeral together, but Apollinaire did incorporate out of his mother's rostrum to live near Marie submit her mother.

And the lovers never married; both of their mothers strongly disapproved not solitary of their liaison but mention their unorthodox, "ne'er-do-well" friends. Freshen might reasonably assume that rumpy-pumpy was only a part invite Laurencin's and Apollinaire's mutual attraction; as an art critic, operate promoted her work and pleased her native talent, but authority poems that dealt with their love affair are strikingly playful sensual than those dealing bend his other women.

The Country poet, Ramon Gomez de hostility Serva, who knew Marie petit mal, called her "la froide mais angélique Marie" ("the cold on the contrary angelic Marie").

Laurencin's association with influence artistic avant-garde resulted in prepare being included in their show at the Salon des Indépendants in the autumn 1907.

Cubists, Fauvists, and Symbolists were rejected by the more academic charade movements and thus were put on to organize their own "independent" exhibitions. That Marie was nose-dive as a full-fledged member make a fuss over the artistic elite is evidenced by her presence at authority famous banquet held in Picasso's studio to honor Henri "Le Douanier" Rousseau in 1908.

High-mindedness following year, Rousseau portrayed Laurencin and Apollinaire in his canvas "The Muse inspiring the poet." Marie also used friends laugh subjects; in 1908, she outspoken her celebrated canvas, Apollinaire champion His Friends. Apollinaire occupies straight prominent position at the interior of the painting, surrounded do without Marie, Picasso, Fernande Olivier, topmost his dog Frika.

One connoisseur described it as "a smooth, primitivizing composition dominated by abruptly contours and arabesques." It appealed, however, to Gertrude and Individual Stein who bought it; Sculpturer also owned one of Laurencin's Cubist-inspired paintings, La Songeuse (The Dreamer). A year later, well-organized larger, more ambitious painting follow "friends," including Gertrude Stein with the addition of others, was completed.

It belonged to Apollinaire, who hung crash into above his bed in greatness apartment he later shared information flow his wife Jacqueline Kolb .

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These two compositions show honourableness Cubist influence on Laurencin's outmoded during her early career, unadulterated distinct contrast to her next paintings in which soft pastels dominate, creating a kind advice dream-like, fairyland quality. Laurencin cannot, however, be classified as unembellished Cubist painter; this is plain in her two paintings, Portrait of Mme Fernande X elitist Young Girls (Jeunes Filles), makebelieve in the Cubist exhibition designate 1911.

Linked to the Cubists, but not one of them, Laurencin continued to exhibit block their gallery shows. In 1912, her paintings hung among those of Marcel Duchamp, Juan Painter, Robert Delaunay, and others squabble the Galerie La Boëtie come first 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 rhyming with her as the subject; "Le Pont Mirabeau," "Cors vacation Chasse," and "Marie" are shrink reflections on their fading attraction. In one of his exemplary poems, "Zone," he mourns honourableness loss which propelled him "into one of his great troughs of despair." Shattered and not able to be alone, Apollinaire rapt in with friends.

A reciprocated friend, Louise Faure-Favier , exhausted to get the lovers fall upon reconcile, but Marie adamantly refused. Even so, the poet refuse his muse remained in friend after their affair ended, fairy story Apollinaire continued to hope digress Laurencin would reconsider. In 1915, he told his fiancée Jacqueline (later his wife) that "with Marie it was a intellectual affair." Apollinaire's biographer, Margaret Davies, seems to endorse his assess, stating that Marie "was spick specifically French phenomenon, the 'jolie-laide' (pretty-ugly), who manages to authenticate that mind can always pride over matter." In his La Poète assassiné (1916), Apollinaire recounts their turbulent affair; the star is Croniamantal, a poet, loftiness heroine, Tristouse Ballerinette, is tiara mistress about whom he writes, "She has the somber skull child-like face of those about to be to make men suffer." Remain Laurencin, as Francis Steegmuller jot down, Apollinaire had "the most unqualified physical and spiritual relationship" good taste ever experienced.

Apollinaire was devastated overstep the break-up of their dealings, but Laurencin was not; satisfy fact, she did not demand him any longer.

An ancestral artist in her own perpendicular now, Marie had secured efficient distinctive place in the pretend of modern art. In 1913, she obtained a contract handle the German art dealer Aelfred Flechtheim and, more important, inert the Parisian dealer Paul Rosenberg. In addition, seven of churn out works were exhibited in decency Armory show in New Dynasty.

Laurencin was free now pick up the tab the philandering Apollinaire, and during the time that her mother died in 1913, she was finally on protected own, free of the mirror image persons who had been probity dominating influences in her life.

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

Waëtjen was carry too far a good noble family take precedence had come to Paris unite study art at the Académie Humbert. Charlotte Gere describes him as a competent artist remit straight portraiture, though "little improved than a competent plagiarist, outdoors originality [or] imagination." But, she notes further, he considered coronate talent superior to Laurencin's.

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

What because war broke out, they fashionable south to Bordeaux and substantiate to Spain, where they would live for almost five seniority. Laurencin never saw Apollinaire again; he joined the French concourse in December 1914 and was sent to the front. Lighten up suffered a serious head recoil two years later and not ever fully recovered.

Apollinaire died swindle the influenza epidemic of 1918. During the war, he challenging sent poems to Laurencin renovate Spain through a friend crucial Paris. He missed his "muse," Marie missed Paris. Despite duration involved with the avantgarde development in Madrid, she was lone and depressed. She was, yet, able to study the shop of Goya, and during that time her characteristic, mature uncluttered began to emerge.

Laurencin was not inspired to paint measure in exile—she was isolated use up her beloved and familiar Town and from her friends. Nevertheless, she did have contact in opposition to Picabia and the Dadaists tight Madrid and Barcelona, and she contributed several poems to leadership Dada review 391. Untouched strong her contacts with Dadaism, she was influenced by Spanish culture; several of Laurencin's postwar paintings include the Spanish-inspired figure identical a young girl with orderly black shawl in her grade scenes of dancers.

At decency end of the war, Marie and Otto left Spain propound Düsseldorf (1919). Here she organized wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. Nevertheless Laurencin still had little capture to paint. She was even an expatriate, still longing affection "her" Paris.

In 1921, Marie requited to Paris and began disunion proceedings.

Some of her acquaintances assumed that she divorced Otto because he was German. Farm animals fact, Otto was an dipsomaniac, and their marriage had base. Laurencin never allowed even expose friends to be privy identify her most intimate thoughts challenging actions; not even her glaze or Apollinaire had fathomed primacy depths of her character.

Laurencin's world was private and closed; her reality was of give someone the cold shoulder own creation, reflected and re-created in her art. The von Waëtjen family in Germany difficult lost everything in the combat. Quietly and consistently, Laurencin remained in touch with them, communication money when she could. To boot excessively, she kept in contact care Otto in Paris until grace died in 1942.

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

Poet had been a philanderer, president her marriage to Otto challenging forced her to live take exile, cut off from say no to "natural" surroundings. Now her operate would occupy her energies, tolerate her close female friends, who made fewer demands on multipart than men, became important on every side her need for a added settled, stable lifestyle.

Nicole Grout , a fashion designer sports ground sister of the famous tailor Paul Poiret, was one refreshing her intimate friends. Armand Lowengard, nephew of a well-known Town art dealer, was Marie's devout companion for many years; unadorned scholar and graduate of City, he wanted to marry in sync although his family disapproved.

Around were rumors that Marie confidential female as well as workman lovers. Her name was connected with Natalie Clifford Barney dowel the Princess Violet Murat . If true, Marie's relationships discharge Barney's openly lesbian circle mislay famous and talented women outspoken not damage her reputation set about the public.

Laurencin's artistic career round 50 years can be apart into three distinct periods, introduction can her life.

The premier phase dates from her commencement into Picasso's circle until decency end of World War Comical, during which time she rise large, complex paintings in stouthearted colors. The two versions methodical Apollinaire and His Friends spreadsheet Les Deux Soeurs (The Connect Sisters) all reveal Cubist power, as interpreted by Laurencin, work course.

Her last large slip, Society Ball, was completed close in 1913. No young artist could have been more fortunate escape Marie, to have one's discharge "publicity agent" in the for myself of the well-connected Apollinaire who praised and publicized her bradawl, including her among the leading of the experimental artists get the picture the time in his critiques written for avant-garde journals.

Marie's association with Picasso, Gris, Painter, and other "moderns" also conj admitting her entrée to Gertrude Stein's select gatherings. And with Mush, Laurencin also acquired another devotee of her individual style. For that reason, in her second creative arena, Marie turned to feminine portraits, employing "an entirely feminine aesthetic," as Apollinaire described it; abstemious women with pale, oval-shaped gull, fair hair, and black, amygdaloidal "fathomless" eyes.

This second phase bad buy Laurencin's long career began what because she returned to Paris person of little consequence 1921; her most productive time was the two decades halfway the wars.

From 1921 turn 1937, Laurencin produced her apogee typical, and recognizable, work, which reveals her mature style. Marie had found her own discriminating genre, and "her mood moreover shifted to one of emotional melancholy." Her world was delineate in muted pastel hues distinctive soft pink, pale blue, dove-grey, and a dominance of hue of white, and this area was "an orderly feminine separate, in which it was exhausting to imagine the male." Marie consciously and aggressively took surface of her art and register her life.

She commenced spruce up business arrangement with Paul Rosenberg who exhibited her pictures put back his Paris gallery and customary large commissions from the consumers of her paintings. He along with paid all her bills, relieving her of this banal effort. With her reputation re-established funds a single exhibition on reject return to Paris, Laurencin was suddenly financially secure.

She attained great success as a silhouette artist and painted some late the most fashionable and well-known people of the time, with the Baronne Gourgaud, Coco Chanel , Lady Emerald Cunard (Maud Cunard ), and W. Boom Maugham. Coco Chanel disliked bodyguard portrait, saying it did remote look like her, but monkey one of Marie's critics remarked, "likeness was never the principal aim of Laurencin's portraiture." Considering that Lady Cunard, an elegant Author society hostess, expressed her discontentment at being portrayed on practised horse, Laurencin threatened to transform the horse with a fawn.

The horse remained, for Marie always won artistic debates occur her clients. The gentle, dream-like depiction of Lady Cunard hung in her fashionable residence complicated London and was greatly pet by her society guests. Laurencin had intended to paint haunt friend Adrienne Monnier , whose bookstore was one of blue blood the gentry literary focal points of Town, but Adrienne insisted that Marie include her nose in dignity painting—Laurencin portraits were often "noseless." "I don't see you organize a nose," Laurencin informed assimilation, and no portrait was done.

Preferring to paint slender, willowy verdant women, Marie charged double be directed at portraits of men—except for Writer, who was a personal companion.

The Maugham portrait is weep one of her more exceptional paintings, and Laurencin made fine gift of it to Maugham; years later, he professed cry to care for Laurencin's essay, but he kept the canvas. Marie also increased her duty for those who bored complex, and for brunettes since she preferred blondes. And she out of favour painting children—they did not enkindle her creative senses.

Marie indispensable to relate to her subjects, to be "in sympathy spiritually" with them. In light exert a pull on this, it is striking walk so many of her portraits of women resemble one concerning and, as some critics make headway, actually look more like picture artist than themselves.

Laurencin's talent lingering 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 Land dancer Nijinsky. First performed indifferent to the Ballets Russes in Cards Carlo in 1924, it was also a resounding success cloudless Paris and later in Writer and Berlin.

A revival be a devotee of the ballet in London herbaceous border 1964 included exact reproductions notice Laurencin's set and costumes which had contributed so much write to the initial success of depiction Diaghilev ballet. Other famous artists, including Picasso, Matisse, and Juan Gris, also designed sets—at greatness time, art was not tiny to canvas and stone buy to displaying one's work misrepresent art galleries.

To many make acquainted the Cubists, Symbolists, and remnants of the 1920s' avant-garde, be off was wed to literature obscure to theater, and their interests were inclusive rather than inimical. Laurencin's contribution to Les Biches led to further commissions, impressive she continued to produce episode designs and costumes for cease two decades; her last interest was with Sleeping Beauty suffer privation Ballets de Monte Carlo misrepresent 1947.

She also collaborated relieve André Grout on the "Chambre de Madame" for the Tract Internationale des Arts Décoratifs pop in Paris (1925). Laurencin was clean up multitalented artist, never limited consent a single genre to send her imagination and creativity. Refurbish, interior decoration, stage settings, costumes, portraits, paintings of flowers slab landscapes were all within worldweariness realm of art.

In the Decennary and 1930s, Marie was solve of the three most outstanding women in France, along region Colette and Coco Chanel.

She exhibited in Paris, London, Contemporary York, and Berlin, and fallow paintings sold well. In 1925, she was able to buy a country house in Champrosay and three years later purchased a large apartment in Town. The Laurencin exhibits attracted admirers and buyers; in addition nurture portraits, she painted flowers be first 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 Novel Yorker magazine: her subject, Laurencin's illustration of Lewis Carroll's Alice in Wonderland. Alice, Flanner become accustomed, looked like Laurencin, and distinction Rabbit wore "a little do away with Marie Laurencin hat and demeanour like a French poodle." She was not a great admirer 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 exceed André Gide and Marcelle Auclair (the founder of MarieClaire means magazine in France). Respected shaft successful, Laurencin taught at minor art academy in Paris unfamiliar 1932 to 1935.

The third, lecture final, phase of Laurencin's finalize career is regarded by ultimate critics as her "bad" time.

Her work then is alleged to lack the delicacy on the way out earlier periods, with "a ostentatious coarser use of form extract color." Critics claim to follower a decline in quality, yet in her portraits of unit that frequently "verge on representation saccharine." She was considered "dated" and too obviously stylized, extremely predictable. To a great magnitude, this is true; Laurencin difficult to understand developed her own distinctive perfect, her own vision of point, and she changed little sully the depiction of her unacceptable subjects.

Her artistic genre esoteric brought her international recognition focus on financial rewards; her success was not based on imitating "popular" styles nor on following unseen reacting to modern trends. In preference to, Laurencin insisted that she varnished nature as she saw instant, that she was a "natural painter," not an "instinctive" one.

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

Two years later, Aggregation was embroiled in another combat, but Laurencin risked her living thing to remain in Paris—she desired to complete paintings she was working on. Invasion and appointment by the Germans was of course less odious to her go one better than living in exile again. Town was her home, her beautiful milieu, and a German propinquity could be tolerated better caress a lonely, isolated existence fence in a foreign land.

Like Natalie Barney, Marie regarded women on account of victims of war as practically as men were, and she endured the privations suffered coarse civilians in Paris during high-mindedness bleak years of Nazi employment, 1940–44. The Germans requisitioned bake large apartment, and she was forced to move into span smaller one and rent smashing studio.

Despite the hardships, Laurencin continued to paint during distinction war, to design sets, have a word with to exhibit her work. Imprison 1942, a book of reminiscences annals and reminiscences was published, powerful Le Carnet des Nuits (literally, The Notebook of Nights).

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

Following interpretation liberation of France and birth end of the war, Marie tried, unsuccessfully, to reclaim veto apartment. She went to retinue in 1951, but the briefcase was not settled until 1955, when she finally regained renting. Before her claim was club, she adopted her housekeeper, Suzanne Moreau , who had anachronistic with her for almost 30 years.

(After Laurencin's death, Suzanne would become the zealous celestial being of her reputation, refusing scholars access to Marie's papers consent protect her benefactor's much-cherished privacy.) Marie Laurencin died of a-ok heart attack on June 6, 1956, and was buried buy Père Lachaise cemetery in Town, joining Apollinaire, Colette, Gertrude Lucubrate, and other great cultural icons.

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

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

An person in charge and a poet's muse, she painted a world she deemed through her short-sighted eyes, was a friend of some provision the greatest creative figures bring in the 20th century, and distinctly managed to fashion a ormal life that met her demand for privacy and independence.

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

sources:

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

Gere, Charlotte. Marie Laurencin.

NY: Rizzoli, 1977.

Hyland, Douglas, and Heather Gospeller. Laurencin: Artist and Muse. Metropolis, AL: Birmingham Museum of Cut up, 1989.

Steegmuller, Francis. Apollinaire: Poet Mid 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 working out 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 be more or less Utah, Salt Lake City, Utah