Marie Laurencin: A feminine lens.
Marie Laurencin. Les danseuses. 1940.
Marie Laurencin, a French painter, illustrator, and printmaker, was an unmistakable force in the 20th-century avant-garde. Her pastel-toned works draw you into a dreamlike world, where women, animals, and floral motifs coexist in an atmosphere of elegance and poetry. What sets her apart is the delicate softness of her forms, which create an almost storybook quality, making her a unique presence in modern art.
Laurencin studied at the Académie Humbert here in Paris, where she became deeply embedded in the city’s cultural and social scene. Her place within the Parisian avant-garde connected her with key figures like Pablo Picasso and Guillaume Apollinaire, where she shaped her artistic path while solidifying her reputation within the creative circle.
Her work consistently leans into feminine sensibility: graceful, intimate, and full of movement. Fluid forms dominate her compositions, accompanied by recurring imagery such as deer, swans, dogs, and flowers. These elements emphasize an aesthetic steeped in delicacy and charm. While she was linked to the Cubists and inspired by her relationship with Apollinaire, Laurencin carved out a more personal and decorative style, appealing to patrons and collectors alike. Among her celebrated works is the 1923 portrait of Mademoiselle Chanel, which I recently viewed at the Musée de l’Orangerie in Paris.
Marie Laurencin.
Portrait de Mademoiselle Chanel.
1923.
Chanel, reportedly unhappy with the muted blue, green, and pink tones, refused to pay Laurencin, who kept the painting before it was acquired by the art dealer Paul Guillaume. Personally, I found it captivating. On the contrary to Chanel, I actually thorougly enjoyed the work and found it very striking. I think despite the muted tones, it does really represent the entity and character of Chanel, making it recognizable regardless of its dream like style.
What draws me most to Laurencin, however, is her connection to theater and ballet, two worlds I hold close as a dancer. She worked on costumes and sets for several productions, including the Ballets Russes, led by the visionary impresario Sergei Diaghilev. Known for uniting music, choreography, and art, Diaghilev tapped into Laurencin’s ability to blend her poetic style with performance.
Marie Laurencin. Les Biches. 1923
In 1924, Laurencin designed the sets and costumes for Les Biches (The Does), choreographed by Bronislava Nijinska and set to music by Francis Poulenc. The production was playful, flirtatious, and feminine, and Laurencin’s designs matched perfectly. Her contribution extended beyond aesthetics; it showed her capacity to adapt her artistic voice to entirely new mediums, merging her delicate, ethereal style with the physicality and movement of the stage.
Laurencin’s versatility is what makes her so compelling. Whether on canvas or in a theater, her work speaks to a deeply personal vision, rooted in sensitivity and elegance. Her legacy is a celebration of feminine artistry, subtle yet unforgettable.