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. First performed by the Ballets Russes in Monte Carlo in 1924, it was also a resounding success in Paris and later in London and Berlin. That Marie was accepted as a full-fledged member of the artistic elite is evidenced by her presence at the famous banquet held in Picasso's studio to honor Henri "Le Douanier" Rousseau in 1908. an exhibition organized by Jelena Kristic. Surprisingly, Laurencin and her lover never lived together, but Apollinaire did move out of his mother's house to live near Marie and her mother. Allard, Roger. Marie also increased her price for those who bored her, and for brunettes since she preferred blondes. Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Her paintings still sell well—Jacqueline Kennedy Onassis owned one—and continue to be exhibited; in Paris, her work hangs among that of Dufy, Modigliani, Léger, and other famous artists of her time. In the early 1900s, Laurencin did a series of self-portraits which reveal "her inherent narcissism." In 1925, she was able to acquire a country house in Champrosay and three years later purchased a large apartment in Paris. The Germans requisitioned her large apartment, and she was forced to move into a smaller one and rent a studio. Marie Laurencin probably met the young Paul Guillaume (1891-1934) through Apollinaire around 1912. (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.) London: Farber, 1960. She observed and listened to the creative giants of her time, the Cubists, Fauvists, Dadaists, Symbolists, and Surrealists, but she was not an imitator; she did "not try to compete with male artists on their own ground.". "MARIE"Poème de Guillaume APOLLINAIRE pour Marie LAURENCIN et chanté par Léo FERRE. 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." Marie also used friends as subjects; in 1908, she did her celebrated canvas, Apollinaire and His Friends. Marie Laurencin was a French artist known for her delicate depictions of young women in idyllic landscapes. After they married, Marie and Otto left for a beach on the Atlantic coast of France. However, she did have contact with Picabia and the Dadaists in Madrid and Barcelona, and she contributed several poems to the Dada review 391. Marie Laurencin. Women in World History: A Biographical Encyclopedia. ." Born in Paris, France, on October 31, 1883; died in Paris on June 8, 1956; buried in Père Lachaise cemetery; illegitimate daughter of Pauline Laurencin and Alfred Toulet; married Baron Otto von Waëtjen, on June 21, 1914 (divorced 1921); no children. Cassatt, Mary (1844–1926) In 1912, her paintings hung among those of Marcel Duchamp, Juan Gris, Robert Delaunay, and others at the Galerie La Boëtie and the Galerie Barbazanges. But Laurencin still had little inclination to paint. Marie Laurencin died in Paris in 1956; she was buried in a white dress holding a rose in one hand and a love letter from Guillaume Apollinaire in the other. He missed his "muse," Marie missed Paris. Laurencin was free now of the philandering Apollinaire, and when her mother died in 1913, she was finally on her own, free of the two persons who had been the dominating influences in her life. Laurencin's ongoing celebration of women and femininity can be traced to her childhood years, in which her father's appear… Marie was in demand by both authors and publishers; she illustrated Katherine Mansfield 's Garden Party and books by André Gide and Marcelle Auclair (the founder of MarieClaire fashion magazine in France). Marie Laurencin, ca 1912. They were more than lovers, according to Douglas Hyland, "they were alter egos who completed one another.". Marie Laurencin was a French artist known for her delicate depictions of young women in idyllic landscapes. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen. Olivier claimed that because of his penchant for neatness he and Marie made love in an armchair to avoid wrinkling his bed covers—"his bed was sacred." At 18, she studied porcelain painting in Sèvres. In 1983, the 100th anniversary of her birth saw the inauguration of the Marie Laurencin Museum in Nagano-Ken, Japan. In fact, it is difficult to envision the primly dressed, bourgeois-mannered young woman as an intimate of the aggressive, boisterous male artists and writers who comprised the inner sanctum of Pablo Picasso's studio, the Bateau-Lavoir, on the rue Ravignan in Montmartre. Critics claim to observe a decline in quality, even in her portraits of women that frequently "verge on the saccharine." When Lady Cunard, an elegant London society hostess, expressed her displeasure at being portrayed on a horse, Laurencin threatened to replace the horse with a camel. "I don't see you with a nose," Laurencin informed her, and no portrait was done. The year 1907 was a watershed in Laurencin's life and art, for Braque introduced her to Picasso and his circle of associates which included the poet, and aspiring art critic, Guillaume Apollinaire. "Laurencin, Marie (1883–1956) Après cette douloureuse rupture, Apollinaire écrira un de ses plus beaux poèmes, Le pont Mirabeau. Elle est artiste peintre. Instead, Laurencin insisted that she painted nature as she saw it, that she was a "natural painter," not an "instinctive" one. Her independence did not last long, however, for in June 1914, she married Baron Otto von Waëtjen—a most inopportune time to marry a German national as war between France and Germany was imminent. Apollinaire had met Picasso in 1904, and their friendship merged the poet's Left Bank literary crowd with Picasso's Montmartre group. Ils se séparent en 1912. Even so, the poet and his muse remained in contact after their affair ended, and Apollinaire continued to hope that Laurencin would reconsider. Marie Laurencin died of a heart attack on June 6, 1956, and was buried in Père Lachaise cemetery in Paris, joining Apollinaire, Colette, Gertrude Stein, and other great cultural icons. Alice, Flanner notes, looked like Laurencin, and the Rabbit wore "a little pink Marie Laurencin hat and looks like a French poodle." At the end of the war, Marie and Otto left Spain for Düsseldorf (1919). He also paid all her bills, relieving her of this banal burden. Their passionate affair was burdened by Apollinaire’s alcohol abuse, his jealousy and violence. Laurencin was different, however, continued Apollinaire, "She is aware of the deep differences that separate men from women—essential, ideal differences…. She exhibited at the Salon des Indépendants in 1907. In 1942, a book of memories and reminiscences was published, entitled Le Carnet des Nuits (literally, The Notebook of Nights). Do not translate text that appears unreliable or low-quality. Linked to the Cubists, but not one of them, Laurencin continued to exhibit in their gallery shows. Paris: Stock, 1933. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. Marie Laurencin et Guillaume Apollinaire se rencontrent par le biais de Pablo Picasso en 1907. If true, Marie's relationships with Barney's openly lesbian circle of famous and talented women did not damage her reputation with the public. Therefore, that information is unavailable for most Encyclopedia.com content. Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. 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. Paris was her home, her artistic milieu, and a German presence could be tolerated better than a lonely, isolated existence in a foreign land. Marie Laurencin. And she avoided painting children—they did not arouse her creative senses. NY: Rizzoli, 1977. Marie had found her own artistic genre, and "her mood too shifted to one of lyrical melancholy." Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. She exhibited in Paris, London, New York, and Berlin, and her paintings sold well. Gere, Charlotte. A key figure in both the impressionist and post-impressionist movements, Jacob-Abraham-Camille Pissarr…, Laurence, Dan H. 1920-2008 (Daniel Hyman Goldstein), Laurel Business Institute: Narrative Description, Laurent-Lucas-Championnièremaugé, Odette (1892-1964), Laurentian University: Distance Learning Programs, Laurentian University: Narrative Description, https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laurencin-marie-1883-1956. Nicole Grout , a fashion designer and sister of the famous couturier Paul Poiret, was one of her intimate friends. Frustratingly, there has been a longer historical memory of Laurencin as Apollinaire’s muse—he even wrote a poem titled “Marie”—than as an artist in her own right. This appraisal of a talented artist may have been, in part, colored by the fact that Laurencin and Apollinaire were lovers at the time. Source: Wikipedia. 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. Her works include paintings, watercolors, drawings, and prints. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. In 1915, he told his fiancée Jacqueline (later his wife) that "with Marie it was a cerebral affair." ." Leur liaison sera tourmentée, orageuse, passionnée. Marie Laurencin. Apollinaire also presciently noted that her feminine portraits depicted a distinctive modern type-the “Marie Laurencin woman.” In 1913 Salmon came to Laurencin’s defense, championing her unconventional art and its feminine focus, which he recognized as … Tyrannical and possessive, Apollinaire provided Laurencin with intellectual stimulation and encouraged her work. Invasion and occupation by the Germans was obviously less odious to her than living in exile again. For decades, her name would be linked to Picasso, Gris, Modigliani, Max Jacob, Francis Carco, and André Salmon. All her life she had close friends in the Parisian literary community. S’ensuivent cinq années d’une relation tourmentée avant que, lassée par des infidélités nombreuses, Marie Laurencin ne prenne définitivement ses distances. She was, however, able to study the works of Goya, and during this time her characteristic, mature style began to emerge. An established artist in her own right now, Marie had secured a distinctive place in the world of modern art. In one of his finest poems, "Zone," he mourns the loss which propelled him "into one of his great troughs of despair." Laurencin's inclusion in this artists' enclave led to her meeting Apollinaire; Picasso, certainly in jest, told Apollinaire that he had found his poet friend a "fiancée" and arranged for them to meet at Clovis Sagot's art gallery in Paris. Apollinaire was known to want to fashion, to shape, his women, and Laurencin was no exception. See available prints and multiples, works on paper, and paintings for sale and learn about the artist. Exhibited Salon des Indépendants, 1911, Moderna Museet, Stockholm, 1911, La Toilette des jeunes filles (Die Jungen Damen), black and white photograph. Apollinaire had already established his literary reputation among the Symbolists and was a "cosmopolitan erudite" figure in Paris; Laurencin was thoroughly Parisian, never happy or comfortable outside of her familiar surroundings. View Marie Laurencin’s 6,354 artworks on artnet. Laurencin's association with the artistic avant-garde resulted in her being included in their exhibit at the Salon des Indépendants in the autumn 1907. Despite the hardships, Laurencin continued to paint during the war, to design sets, and to exhibit her work. Entered the Lycée Lamartine (1893); studied porcelain painting at the École de Sèvres (1902–03); attended Académie Humbert (1903–04); met Georges Braque (1903); exhibited at Salon des Indépendants, Paris (1907); began six-year affair with Guillaume Apollinaire (1907); held first individual exhibit of her paintings, Galarie Barbazanges, Paris (1912); lived in Spain (1914–19); returned to Paris (1921); designed sets and costumes for "Les Biches," Ballet Russes (1923); awarded Legion of Honor (1937); published memoirs, Le Carnet des nuits (1942); adopted Suzanne Moreau (1954); inauguration of Marie Laurencin Museum, Nagano-Ken, Japan (1983). Berthe Morisot Laurencin's world was private and closed; her reality was of her own creation, reflected and re-created in her art. [1] She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. ." Laurencin suffered from a variety of ailments and serious bouts of depression for many years, but she continued to paint until she was nearly 70. Respected and successful, Laurencin taught at an art academy in Paris from 1932 to 1935. 5 March – 23 May 2020 opening reception on Thursday, 5 March, 6-8 pm. Laurencin was an illegitimate child and did not dare to ask her mother about her father, the politician Alfred Toulet, learning his identity only at the age of 21, though he visited the pair occasionally. If possible, verify the text with references provided in the foreign-language article. Picasso's mistress, Fernande Olivier , remarked that Marie had "the air of a little girl who was naive and a little vicious … a homely yet piquant-looking creature." In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. Charlotte Gere describes him as a competent artist in straight portraiture, though "little more than a competent plagiarist, without originality [or] imagination." These two compositions show the Cubist influence on Laurencin's work during her early career, a distinct contrast to her later paintings in which soft pastels dominate, creating a kind of dream-like, fairyland quality. Marie Laurencin, Apollinaire and His Friends (1909). He believed, "The greatest error of most women artists is that they try to surpass men, losing in the process their taste and their charm." She was greatly affected by her separation from the French capital, the unrivaled center of artistic creativity. They were inseparable and were lovers for the next six years. French artist Suzanne Valadon (1865–1938) was an artist's model before becoming a respected painter herself. This second phase of Laurencin's long career began when she returned to Paris in 1921; her most productive period was the two decades between the wars. Born Mary Stevenson Cassatt in Allegheny C…, Berthe Morisot In his La Poète assassiné (1916), Apollinaire recounts their turbulent affair; the hero is Croniamantal, a poet, the heroine, Tristouse Ballerinette, is his mistress about whom he writes, "She has the somber and child-like face of those destined to make men suffer." Her world was depicted in muted pastel hues of soft pink, pale blue, dove-grey, and a dominance of shades of white, and this world was "an orderly feminine one, in which it was difficult to imagine the male." Marie Laurencin's unpublished correspondence, notebooks, photographs, official documents, and exhibition catalogues are located in the Bibliothèque Jacques Doucet, Paris, France. Her absentee father, Alfred Toulet, a deputy to the National Assembly from Picardy, was already married to another woman when Marie was born. Marie needed to relate to her subjects, to be "in sympathy spiritually" with them. She was considered "dated" and too obviously stylized, too predictable. 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, 1940–44. Marie Laurencin was an indifferent student and preferred the study of music and literature to painting; she was an avid reader and had a library of over 500 volumes when she died. Laurencin's artistic career of 50 years can be divided into three distinct periods, as can her life. At 18, she studied porcelain painting in Sèvres. Following the liberation of France and the end of the war, Marie tried, unsuccessfully, to reclaim her apartment. As her friend, the poet André Salmon, expressed it, "there is something of a fairy wand in the brush of Marie Laurencin." Laurencin: Artist and Muse. Apollinaire's biographer, Margaret Davies, seems to endorse his assessment, stating that Marie "was a specifically French phenomenon, the 'jolie-laide' (pretty-ugly), who manages to prove that mind can always triumph over matter." Marie Laurencin et Guillaume Apollinaire se rencontrent en 1907. Paris, 1947. Guillaume Apollinaire (French: [ɡijom apɔlinɛʁ]; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent.. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. 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. Berthe Morisot (1841-1895) was one of the influential painters of the French Impressionist school of art. 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. In 1983, the 100th anniversary of her birth saw the inauguration of the Marie Laurencin Museum in Nagano-Ken, Japan. Marie Laurencin enters a love relationship with Apollinaire; she is identified as his muse—a classic role imposed on women in avant-garde circles. Margaret Davies claims that Laurencin seemed rather like "a child lost among sophisticated adults" in her relations with the Montmartre group. Originally influenced by Fauvism, she simplified her forms through the influence of the Cubist painters. Apollinaire thus availed himself of the clichés of his time. American artist and grande dame of the Impressionists. She was still an expatriate, still longing for "her" Paris. If Marie was viewed as an. The couple subsequently lived together briefly in Düsseldorf. The Marie Laurencin Museum opened in Japan in 1983, becoming the first museum in the world devoted to a single female painter. There were rumors that Marie had female as well as male lovers. Laurencin was born in Paris,[2] where she was raised by her mother and lived much of her life. In 1913, she obtained a contract with the German art dealer Alfred Flechtheim and, more important, with the Parisian dealer Paul Rosenberg. 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. ]. It belonged to Apollinaire, who hung it above his bed in the apartment he later shared with his wife Jacqueline Kolb . After briefly flirting with the tenets of Cubism early on, Laurencin shied away from the modern styles of her day, drawing influence from Persian miniatures and the Rococo instead. Laurencin's talent extended beyond portraiture. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. Here she designed wallpaper for an Art Deco decorator and did the illustrations for a friend's novel. Laurencin also illustrated more than 20 books. Elle est enterrée au cimetière du Père Lachaise (88ème Division). In 1908, Laurencin achieved her first sale when Gertrude Stein purchased Group of artists . At age 24, Marie still lived with her mother, as did the 27-year-old Apollinaire. The gesticulation of her left hand indicates she has had a spark of creativity or a brilliant thought which Apollinaire will proceed to write down with his quill and paper. She was not a great fan of Laurencin's portraits, either. In 1907 Picasso introduced Marie Laurencin to his friend the poet Guillaume Apollinaire and they became romantically involved. Gertrude Stein , the most famous American expatriate, art connoisseur, and permanent resident of Paris, who knew and liked Marie, said the Laurencin women lived like two nuns in a convent, a rather sagacious observation for Pauline had intended to become a Carmelite nun. Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). Pick a style below, and copy the text for your bibliography. Apollinaire, poet and art critic, praised Laurencin's "typically French grace," her "vibrant and joyful" personality, and her feminine qualities. Everybody called Gertrude Stein Gertrude, or at most Mademoiselle Gertrude, everybody called Picasso Pablo and Fernande Fernande and everybody called Guillaume Apollinaire Guillaume and Max Jacob Max but everybody called Marie Laurencin Marie Laurencin. In addition, seven of her works were exhibited in the Armory show in New York. From 1921 to 1937, Laurencin produced her most typical, and recognizable, work, which reveals her mature style. At the same time, Laurencin’s early paintings can hardly be distinguished from those by … Wallpaper, interior decoration, stage settings, costumes, portraits, paintings of flowers and landscapes were all within her realm of art. Marie Laurencin died of a heart attack on June 6, 1956, and was buried in Père Lachaise cemetery in Paris, joining Apollinaire, Colette, Gertrude Stein, and other great cultural icons. Laurencin never saw Apollinaire again; he joined the French army in December 1914 and was sent to the front. Marie's association with Picasso, Gris, Modigliani, and other "moderns" also provided her entrée to Gertrude Stein's select gatherings. When she began drawing at an early age, her mother discouraged her efforts and regularly destroyed her drawings. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites: http://www.chicagomanualofstyle.org/tools_citationguide.html. Warnod, Jeannine. Jeanne A. Ojala , Professor of History, University of Utah, Salt Lake City, Utah. Marie Laurencin was introduced to Picasso and his circle at the Bateau-Lavoir through Braque's intervention around the time of her artistic debut at the Salon des Indépendants in the autumn of 1907. Both were illegitimate, brought up by domineering women, and both were "hypersensitive, capricious, and moody." With Laurencin, as Francis Steegmuller notes, Apollinaire had "the most complete physical and spiritual relationship" he ever experienced. Apollinaire launched Laurencin's career in the Paris art world, praised her work in his art columns, and ranked her among the great talents of the time. He did, however, introduce her to her first significant romantic partner, the modernist poet Guillaume Apollinaire. She had relationships with men and women,[3] and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist."[4]. For a period in the 1920s he became her art dealer. Encyclopedia.com. Despite being involved with the avantgarde movement in Madrid, she was lonely and depressed. Marie Laurencin was born in Paris on October 31, 1883, and grew up in an apartment with her mother, Pauline Laurencin. • Les Jeunes filles, aquarelle sur papier 38 × 32,4 cm, [s.d. If I feel so distant from other painters, it is because they are men…. Picasso et ses amis. Known primarily for her portraits, Vigée-Lebrun was a favori…, Valadon, Suzanne Apollinaire occupies a prominent position at the center of the painting, surrounded by Marie, Picasso, Fernande Olivier, and his dog Frika. Before her claim was settled, she adopted her housekeeper, Suzanne Moreau , who had been with her for almost 30 years. Henri Rousseau's painting of 1909 encapsulates the way Laurencin was perceived as a muse.In The Muse Inspiring the Poet she can be seen standing on the right-hand side of Apollinaire. ... and there she was introduced to Guillaume Apollinaire by Pablo Picasso and she became romatically involved with Apollinaire until 1913. 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. "Laurencin, Marie (1883–1956) 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 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. Introduction Le poème Marie est paru pour la première fois en octobre 1912 dans les Soirées de Paris.Comme le titre l'indique, Marie s'inscrit dans la continuité de la tradition lyrique puisqu'il en traite le thème dominant : l'amour. Part of a circle of art…, PISSARRO, CAMILLE (1830–1903), French painter. © 2019 Encyclopedia.com | All rights reserved. From 1910, her palette consisted mainly of grey, pink and pastel tones. Marie Laurencin was introduced to Picasso and his circle at the Bateau-Lavoir through Braque's intervention around the time of her artistic debut at the Salon des Indépendants in the autumn of 1907. The Spanish poet, Ramon Gomez de la Serva, who knew Marie well, called her "la froide mais angélique Marie" ("the cold but angelic Marie"). Steegmuller, Francis. A year later, a larger, more ambitious painting of "friends," including Gertrude Stein and others, was completed. When war broke out, they fled south to Bordeaux and then to Spain, where they would live for almost five years. Marie was raised by her mother, with little awareness of her father’s identity until the age of 21. She also collaborated with André Grout on the "Chambre de Madame" for the Exposition Internationale des Arts Décoratifs in Paris (1925). Laurencin was a multitalented artist, never limited to a single genre to express her imagination and creativity. 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." Some of her acquaintances assumed that she divorced Otto because he was German. https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/laurencin-marie-1883-1956, "Laurencin, Marie (1883–1956) Laurencin entered the Académie Humbert in 1903 and did her first etchings. Women in World History: A Biographical Encyclopedia. With her reputation re-established after a single exhibition on her return to Paris, Laurencin was suddenly financially secure. It is curious that Marie Laurencin was able to develop and sustain warm relations with male friends, because her formative years were devoid of male influences. 21 Dec. 2020 . "Marie Laurencin: Une Femme Inadaptée" in, Fonds Marie Laurencin, Bibliothèque littéraire Jacques Doucet, Université de Paris, This page was last edited on 11 December 2020, at 10:04. [5] After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. Laurencin continued to explore themes of femininity and what she considered to be feminine modes of representation until her death. There is a quality of child-like innocence that pervades the life and art of Marie Laurencin. She was the illegitimate child of the French politician Alfred Toulet and the headstrong, independent Pauline Laurencin. Marie never remarried, but she had numerous male friends and several lovers. Apollinaire is center stage, and Laurencin stands between the men with a rose and a knowing expression. Paris: Presses de la Connaissance, 1976. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. However, the date of retrieval is often important. Shattuck, Roger. A mutual friend, Louise Faure-Favier , tried to get the lovers to reconcile, but Marie adamantly refused. Pauline wanted Marie to be a teacher, but after graduating from the Lycée Lamartine, Marie began to study painting.