Marie Laurencin established her career within the early 20th-century Parisian avant-garde, initially navigating the rigid structural norms of Cubism before developing a singular aesthetic. Over five decades, she moved from the intense circles of Pablo Picasso to creating a distinct, ethereal visual language characterized by pastel tones and representations of female figures that remained her signature until her death in 1956.
Early Education and Artistic Origins
Born in 1883 in the 10th arrondissement of Paris, Laurencin was raised by her mother, Pauline-Mélanie Laurencin. Her father, Alfred-Stanislas Toulet, supported her education, which included studies in porcelain painting at Sèvres. She later enrolled at the Académie Humbert in Paris, where she transitioned her technical focus toward oil painting, setting the foundation for her involvement in the city's vibrant art scene.
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Take the IQ test →Involvement with the Cubist Avant-Garde
During the early 1900s, Laurencin became an active participant in the Parisian avant-garde. She associated with the Cubist circle, including figures such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier, and Francis Picabia. Her work appeared in the Salon des Indépendants between 1910 and 1911 and the Salon d’Automne from 1911 to 1912. Despite these associations, she later expressed frustration with the movement, claiming in a 1923 interview that Cubism had stifled her creative output for three years.
Exile and Stylistic Evolution
The First World War prompted Laurencin to move to Spain with her husband, the German artist Baron Otto von Waëtjen, a relocation that cost her French citizenship. Following their divorce in 1920, she returned to Paris, where she abandoned the geometric constraints of her early work. She replaced them with a palette defined by soft pinks, greys, and light tones, creating an enchanted, curvilinear world often centered on female subjects. This period marked her transition into a celebrated artist with significant financial success until the economic downturn of the 1930s.
Legacy and Institutional Recognition
Laurencin’s body of work spans paintings, engravings, watercolors, and drawings. Her contributions to art history are preserved in major institutions including the Barnes Foundation, The Museum of Modern Art, the Tate Gallery, the Hermitage Museum, and the Musée de l'Orangerie. In 1983, the Musée Marie Laurencin opened in Nagano, Japan, housing over 600 of her pieces. She is buried in the Père Lachaise Cemetery in the 7th arrondissement of Paris.
Fast facts
- Born: 1883, 10th arrondissement of Paris
- Died: 1956, 7th arrondissement of Paris
- Primary Fields: Painting, engraving process
- Key Movements: Cubism, Fauvism
- Long-term Partner: Nicole Groult
- Notable Museum: Musée Marie Laurencin, Nagano
Questions readers ask
Was Marie Laurencin involved in the Cubist movement?
Yes, she was a member of the Cubists associated with the Section d'Or and exhibited with them, though she later distanced herself from the movement's influence.
Where can one view her permanent collection?
Her work is held in various international collections, including the Barnes Foundation, the Hermitage Museum, the Tate Gallery, and the Musée de l'Orangerie.
Achievements
- Movement: Fauvism and cubism
