a veryclean lovelyitem from 1962.

From internet:

Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studiedporcelain paintinginSèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus tooil painting.

Marie Laurencin, 1909,Réunion à la campagne(Apollinaire et ses amis), oil on canvas, 130 x 194cm,Musée Picasso, Paris. Reproduced inThe Cubist Painters, Aesthetic Meditations(1913)

During the early years of the 20th century, Laurencin was an important figure in the Parisianavant-garde. A member of both the circle ofPablo Picasso, and Cubists associated with theSection dOr, such asJean Metzinger,Albert Gleizes,Robert Delaunay,Henri le FauconnierandFrancis Picabia, exhibiting with them at theSalon des Indépendants(1910-1911) and theSalon dAutomne(1911-1912). She became romantically involved with the poetGuillaume Apollinaire, and has often been identified as his muse. In addition, Laurencin had important connections to thesalonof the Americanexpatriateand famedlesbianwriterNatalie Clifford Barney. She had heterosexual and lesbian affairs.

During theFirst World War, Laurencin left France for exile in Spain with her German-born husband, Baron Otto von Waëtjen, since through her marriage she had automatically lost her French citizenship. The couple subsequently lived together briefly inDüsseldorf. After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. During the 1930s she worked as an art instructor at a private school. She lived in Paris until her death.

Work

Laurencins works include paintings, watercolors, drawings, and prints. She is known as one of the few femaleCubistpainters, withSonia Delaunay,Marie Vorobieff, andFranciska Clausen. While her work shows the influence of Cubist paintersPablo PicassoandGeorges Braque, who was her close friend, she developed a unique approach toabstractionwhich often centered on the representation of groups of women and female portraits. Her work lies outside the bounds ofCubistnorms in her pursuit of a specifically feminine aesthetic by her use of pastel colors and curvilinear forms. 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.

In 1983, on the one hundredth anniversary of Laurencins birth, the Musée Marie Laurencin opened inNagano Prefecture,Japan. The museum is home to more than 500 of her works and an archive.

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