Poeme apollinaire marie laurencin biography

Laurencin never saw Apollinaire again; he joined the French army in December and was sent to the front. He suffered a serious head wound two years later and never fully recovered. Apollinaire died in the influenza epidemic of During the war, he had sent poems to Laurencin in Spain through a friend in Paris. He missed his "muse," Marie missed Paris.

Despite being involved with the avantgarde movement in Madrid, she was lonely and depressed. She was, however, able to study the works of Goya, and during this time her characteristic, mature style began to emerge. Laurencin was not inspired to paint while in exile—she was isolated from her beloved and familiar Paris and from her friends. However, she did have contact with Picabia and the Dadaists in Madrid and Barcelona, and she contributed several poems to the Dada review Untouched by her contacts with Dadaism, she was influenced by Spanish culture; several of Laurencin's postwar paintings include the Spanish-inspired figure of a young girl with a black shawl in her group scenes of dancers.

Here she designed wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. But Laurencin still had little inclination to paint. She was still an expatriate, still longing for "her" Paris. In , Marie returned to Paris and began divorce proceedings. Some of her acquaintances assumed that she divorced Otto because he was German.

In fact, Otto was an alcoholic, and their marriage had deteriorated. Laurencin never allowed even close friends to be privy to her most intimate thoughts and actions; not even her mother or Apollinaire had fathomed the depths of her character. Laurencin's world was private and closed; her reality was of her own creation, reflected and re-created in her art.

Quietly and consistently, Laurencin remained in touch with them, sending money when she could. Moreover, she kept in contact with Otto in Paris until he died in Marie never remarried, but she had numerous male friends and several lovers. Apollinaire had been a philanderer, and her marriage to Otto had forced her to live in exile, cut off from her "natural" surroundings.

Now her work would occupy her energies, and her close female friends, who made fewer demands on her than men, became important to her need for a more settled, stable lifestyle. Nicole Grout , a fashion designer and sister of the famous couturier Paul Poiret , was one of her intimate friends. Armand Lowengard, nephew of a well-known Paris art dealer, was Marie's devoted companion for many years; a scholar and graduate of Oxford, he wanted to marry her although his family disapproved.

There were rumors that Marie had female as well as male lovers. If true, Marie's relationships with Barney's openly lesbian circle of famous and talented women did not damage her reputation with the public. Laurencin's artistic career of 50 years can be divided into three distinct periods, as can her life. The first phase dates from her introduction into Picasso's circle until the end of World War I , during which time she produced large, complex paintings in bold colors.

Her last large canvas, Society Ball , was completed in No young artist could have been more fortunate than Marie, to have one's own "publicity agent" in the person of the well-connected Apollinaire who praised and publicized her work, including her among the best of the experimental artists of the time in his critiques written for avant-garde journals.

And with Stein, Laurencin also acquired another admirer of her individual style. Then, in her second creative phase, Marie turned to feminine portraits, employing "an entirely feminine aesthetic," as Apollinaire described it; virginal women with pale, oval-shaped faces, fair hair, and black, almond-shaped "fathomless" eyes. This second phase of Laurencin's long career began when she returned to Paris in ; her most productive period was the two decades between the wars.

From to , Laurencin produced her most typical, and recognizable, work, which reveals her mature style. Marie had found her own artistic genre, and "her mood too shifted to one of lyrical melancholy. She commenced a business arrangement with Paul Rosenberg who exhibited her pictures in his Paris gallery and received large commissions from the sale of her paintings.

He also paid all her bills, relieving her of this banal burden. With her reputation re-established after a single exhibition on her return to Paris, Laurencin was suddenly financially secure. She achieved great success as a portrait artist and painted some of the most fashionable and famous people of the time, including the Baronne Gourgaud, Coco Chanel , Lady Emerald Cunard Maud Cunard , and W.

Somerset Maugham. Coco Chanel disliked her portrait, saying it did not look like her, but as one of Marie's critics remarked, "likeness was never the primary aim of Laurencin's portraiture. The horse remained, for Marie always won artistic debates with her clients. The gentle, dream-like depiction of Lady Cunard hung in her fashionable residence in London and was greatly admired by her society guests.

Laurencin had intended to paint her friend Adrienne Monnier , whose bookstore was one of the literary focal points of Paris, but Adrienne insisted that Marie include her nose in the painting—Laurencin portraits were often "noseless. Preferring to paint slender, willowy young women, Marie charged double for portraits of men—except for Maugham, who was a personal friend.

The Maugham portrait is not one of her more notable paintings, and Laurencin made a gift of it to Maugham; years later, he professed not to care for Laurencin's style, but he kept the painting. Marie also increased her price for those who bored her, and for brunettes since she preferred blondes. And she avoided painting children—they did not arouse her creative senses.

Marie needed to relate to her subjects, to be "in sympathy spiritually" with them. In light of this, it is striking that so many of her portraits of women resemble one another and, as some critics claim, actually look more like the artist than themselves. Laurencin's talent extended beyond portraiture. First performed by the Ballets Russes in Monte Carlo in , it was also a resounding success in Paris and later in London and Berlin.

A revival of the ballet in London in included exact reproductions of Laurencin's set and costumes which had contributed so much to the initial success of the Diaghilev ballet. Other famous artists, including Picasso, Matisse, and Juan Gris, also designed sets—at the time, art was not confined to canvas and stone or to displaying one's work in art galleries.

To many of the Cubists, Symbolists, and others of the s' avant-garde, art was wed to literature and to theater, and their interests were inclusive rather than exclusive. Laurencin's contribution to Les Biches led to further commissions, and she continued to produce stage designs and costumes for over two decades; her last involvement was with Sleeping Beauty for Ballets de Monte Carlo in Laurencin was a multitalented artist, never limited to a single genre to express her imagination and creativity.

Wallpaper, interior decoration , stage settings, costumes, portraits, paintings of flowers and landscapes were all within her realm of art. In the s and s, Marie was one of the three most well-known women in France, along with Colette and Coco Chanel. In , she was able to acquire a country house in Champrosay and three years later purchased a large apartment in Paris.

The Laurencin exhibits attracted admirers and buyers; in addition to portraits, she painted flowers and a few landscapes which attracted additional admirers and buyers. Laurencin also illustrated more than 20 books. Alice, Flanner notes, looked like Laurencin, and the Rabbit wore "a little pink Marie Laurencin hat and looks like a French poodle. This negative reaction was not widespread, however.

Respected and successful, Laurencin taught at an art academy in Paris from to The third, and final, phase of Laurencin's extensive career is regarded by most critics as her "bad" period. Her work then is said to lack the delicacy of earlier periods, with "a much coarser use of form and color. To a great extent, this is true; Laurencin had developed her own distinctive style, her own vision of reality, and she changed little in the depiction of her chosen subjects.

Her artistic genre had brought her international recognition and financial rewards; her success was not based on imitating "popular" styles nor on following or reacting to modern trends. Instead, Laurencin insisted that she painted nature as she saw it, that she was a "natural painter," not an "instinctive" one. Two years later, Europe was embroiled in another war, but Laurencin risked her life to remain in Paris—she wanted to complete paintings she was working on.

Invasion and occupation by the Germans was obviously less odious to her than living in exile again. Paris was her home, her artistic milieu, and a German presence could be tolerated better than a lonely, isolated existence in a foreign land. Like Natalie Barney, Marie regarded women as victims of war as much as men were, and she endured the privations suffered by civilians in Paris during the bleak years of Nazi occupation, — The Germans requisitioned her large apartment, and she was forced to move into a smaller one and rent a studio.

Despite the hardships, Laurencin continued to paint during the war, to design sets, and to exhibit her work. In , a book of memories and reminiscences was published, entitled Le Carnet des Nuits literally, The Notebook of Nights. Laurencin suffered from a variety of ailments and serious bouts of depression for many years, but she continued to paint until she was nearly Following the liberation of France and the end of the war, Marie tried, unsuccessfully, to reclaim her apartment.

She went to court in , but the case was not settled until , when she finally regained possession. Before her claim was settled, she adopted her housekeeper, Suzanne Moreau , who had been with her for almost 30 years. After Laurencin's death, Suzanne would become the zealous guardian of her reputation, refusing scholars access to Marie's papers to protect her benefactor's much-cherished privacy.

An artist and a poet's muse, she painted a world she viewed through her short-sighted eyes, was a friend of some of the greatest creative figures of the 20th century, and skillfully managed to fashion a personal life that met her need for privacy and independence. Hyland, Douglas, and Heather McPherson. Laurencin: Artist and Muse. Jeanne A.

Cite this article Pick a style below, and copy the text for your bibliography. January 10, Retrieved January 10, from Encyclopedia. Then, copy and paste the text into your bibliography or works cited list. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.

Women Encyclopedias almanacs transcripts and maps Laurencin, Marie — Laurencin, Marie — gale. Learn more about citation styles Citation styles Encyclopedia. More From encyclopedia. About this article Laurencin, Marie — Updated About encyclopedia. Laurence, William L. Laurence, Saint. Laurence, Ray She lived in Paris until her death. Laurencin's works include paintings, watercolors, drawings, and prints.

Her work lies outside the bounds of Cubist norms in her pursuit of a specifically feminine aesthetic by her use of pastel colors and curvilinear forms. Originally influenced by Fauvism , she simplified her forms through the influence of the Cubist painters. From , her palette consisted mainly of grey, pink, and pastel tones. Her distinctive style developed upon her return to Paris in the s post exile.

The muted colours and the geometric patterns inherited from Cubism were replaced by light tones and undulating compositions.

Poeme apollinaire marie laurencin biography

And if you realize that, in her soft way, she's constructing a world without men, of female harmony, there's something pretty revolutionary in there as well. Laurencin continued to explore themes of femininity and what she considered to be feminine modes of representation until her death. Her works include paintings, watercolors, drawings, and prints.

Laurencin's artistic accomplishments are seen in collections around the world. Founder Masahiro Takano was enamored with Laurencin's sensual and lyrical worldview, and the museum holds over art pieces by her. Petersburg, and the Tate Gallery in London. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version.

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