Between The Fauvists and The Cubists

Portrait of Jean Cocteau, Marie Laurencin, 1921

 
 

MARIE LAURENCIN

Entre les fauves et les cubistes
Prise au piège, petite biche
Une pelouse, des amémies
Pâlissent le nez des amies
France, jeune fille nombreuse
Clara d’Ellébeuse
Sophie Fichini
Bientôt la guerre sera finie
Pour que se cabre un doux bétail
Aux volets de votre éventail
Vive la France!

Jean Cocteau

 
 

__________________________

 
 

“Between the Fauvists and the Cubists
caught in the trap, little doe
a lawn, anaemic afflictions
pale the noses of the friends
France, numerous young lady
Clara d’Ellébeuse
Sophie Fichini
Soon the war will be over
for a gentle cattle to rear up
in the winglets of your fan
Long live France!”

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Where We Came Upon the Spell

“…I deliver you
from the forest
where we came upon the spell…”

Jean Cocteau

Excerpt from Preamble (A Rough Draft For An Ars Poetica)

 
 

The Muse Inspiring the Poet, (first version), Henri Rousseau, 1908

 
 

The Muse Inspiring the Poet (second version), 1909

A Rose is Something

 
 

“Les rosiers ont des roses—

C’est toujours la meme que je vois.

Une rose, c’est quelque chose.

La vie pour les femmes est si difficile.”
 
 

________________________________

 
 

“Rose bushes have roses—

It is always the same one that I see.

A rose is something.

Life for women is so difficult.”

 

Marie Laurencin

Poetic fragment from Le Carnet des Nuits

1942

The Pursuit of A Specifically Feminine Aesthetic

Marie Laurencin c. 1912, Paris

 
 

Laurencin photographed by Carl van Vechten, 1949

 
 

Marie Laurencin (October 31, 1883 – June 8, 1956) was a French painter, poet and printmaker. She was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting.

Disciple of Henri Matisse, during the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso, and Cubists associated with the Section d’Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d’Automne (1911-1912). She became romantically involved with the poet Guillaume Apollinaire, and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. She had heterosexual and lesbian affairs.

During the First 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 in Düsseldorf. 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.

 
 

Réunion à la campagne (Apollinaire et ses amis), 1919

 
 

Les jeunes filles (Jeune Femmes, Young Girls), 1910-11

 
 

Le Bal élégant, La Danse à la campagne, 1913

 
 

Portrait de Mademoiselle Chanel, 1923

 
 

Laurencin’s works include paintings, watercolors, drawings, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen. While her work shows the influence of Cubist painters Pablo Picasso and Georges Braque, who was her close friend, she developed a unique approach to abstraction which often centered on the representation of groups of women and female portraits. 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. Laurencin’s insistence on the creation of a visual vocabulary of femininity, which characterized her art until the end of her life, can be seen as a response to what some consider to be the arrogant masculinity of Cubism.