Although French painter Marie Laurencin achieved huge business success in her life, her name fell into a relatively obscure attitude after her death in the late 1950s. She was deeply embedded in the cultural community in Paris, and she carved her space in the avant -garde circle. She announced a strange art voice in the city’s most influential action.
From the age of 20, Lauren did not hesitate to paint only women. As she said in an interview in 1952: “Why do I paint dead fish, onion and beer glass? Girls are too beautiful.” Although it is linked to three -dimensionalism and barbarism, and often with orphanism The sense of poeticness is related, but her style obviously forms her own style-the person known as the “nymph”-the exquisite and elegant of Roco and Nouveau into a expressive freedom of expression, and has the freedom of expression Impressionist abstraction. Over time, she perfects a visual language that immediately recognizes, marking the delicate soft palette, simplifying forms and attention to female characters, and celebrating their beauty, intimate relationships and interpersonal relationships.
The exhibition in Almine Rech provides a rare opportunity to experience the works of Marie Laurencin from 1905 to 1952, including jewelry -colored paintings and intuitive watercolor paintings, capturing her themes Elegant and emotional. The show marks the first time that she is committed to introducing her work to the first planned gallery survey in the US market, aiming to re -establish Laurencin’s existence among the main artists of her era.
When Laurencin was asked when she brought Laurencin’s work to the collector’s motivation, he managed to impose herself as an artist in other modern art painters, writers and thinkers. “
Although their scope is very close, the price of the works in the performance is between $ 60,000 and $ 250,000, which proves the market attraction of Laurencin’s rejuvenation, because museums and collectors have re -discovered her contribute. The retrospective exhibition of the Barnes Foundation in the Philadelphia last year further consolidated her status in the neglected characters in Paris scene in the early 20th century, proving that she may be one of the best people-it must be among the older gays -Cat the spirit and atmosphere. The golden age.
In recent years, Laurencin’s works, especially her paintings, have always surpassed the estimate before the auction, which shows a strong and positive demand. recent, Les anges (1936) The price at Christie was $ 135,000 in Christie in October 2024. However, her auction record is still $ 1.4 million La Vie AUCHeTEAU (1925), in 1989, before the Japanese bubble collapsed, the Japanese collector Masahiro Takano acquired in New York, Sotheby’s New York.
Laurencin receives the training of porcelain decoration, bringing this sensitivity into her paintings and watercolor paintings, with exquisite elegance and mastery of the delicate impressionist color. Essence However, in addition to male peers, she truly describes her portrayal of the beauty of women. This is her obvious woman and Kuer staring at it. She captured her beautiful theme of the ethereal-this method Immediately elegant, seemingly intuitive and deep personalization. By embracing a disturbing and natural intimacy and celebrating the female bond, Laurenton got rid of the historical Canon centered on the eyes of the whole male and the social expectations around women’s sexual behavior and interpersonal relationships. Her art is not only a pursuit of aesthetic, but also a strange and profound personalization of Kuer’s vision. As the curator of the Barnes retrospective exhibition recently said: “But it has challenged modern European Europe. Existing narrative of art “.
In this sense, Laurein’s painting fully reflects the new freedom of “new women” that will appear in the international capital of 1920. In this world, she is not only active as an artist, but also a creativity. From fashion to fashion to all creative theaters and ballet. She is one of the pioneers of a new model of an independent female creative entrepreneur spirit. In an era when a woman has just begun to obtain space for her domestic field, her agency advocates her agency.
Please refer to: the pride of Pan-non-art-interview with Touria El Glaoui, a founding director of 1-54
Well, it is not surprising. In 1923, Coco Chanel (Coco Chanel. It is worth noting that, according to reports, Chanel does not like this portrait and refuses to buy it. Fashion carefully cultivated the violent independence image she cultivated. How to compromise how to shape and defend his identity, because his identity is strong, and the creator who has no attitude is determined to succeed in success.
It is worth noting that Chanel and Laurencin (Laurencin Les Biches (Les Biches) In 1924, Chanel (Chanel) was Le Train Bleu. As Almine Rech emphasizes in our exchanges, Laurencin has a lot of commonability, and moves smoothly among painters, carved scholars and poets. Rech pointed out: “Apollinaire will actually ask her to write a letter for him.” Laurencin also participated in a period of time with Apollinaire, and eventually, at the beginning of World War I started with him separate. She was later married to the Germans, but also married with the famous Paul Paul Poiret Paul Poiret Nicole Group.
“Max Jacob and Apollinaire admires Max Jacob and Apollinaire, which is Paul Rosenberg in 1913 in his Paris gallery proposal in his Paris gallery The first ‘contemporary artist.,,,,, How the predecessor who followed her successfully attracted the international attention of Lauren gold a century ago. Rosenberg himself appeared in a rare painting of Lauren, including the theme of men, Portrait D’UN Homme (1913/14), together with the works displayed in Paris and New York Gallery in Rosenberg, were included in the exhibition.
Laurencin’s paintings have long been part of the most prestigious institution collections in the United States for a long time. In addition to the Barnes Foundation, her works are also by Philadelphia Museum, Metropolitan Art Museum, friction museum, National Art Museum in Washington, DC, Pitonburg’s Carnegie Art Museum and Olbreter Kenek Art gallery et al.-Challenge the lasting proof of the role of traditional art in challenging traditional art practice from a unique woman and Queer’s point of view.
“At that time, women were considered fair sex, and that’s it … even at that time, she was fighting well! From there, modernity in 1920 was a bit open to women.” Almine Rech said. “In addition to the role of artist, in the sensitive period between the two World War II in Paris, Marie Laurencin reflected the woman who was liberated. Sapist idol.
“Marie Laurencin: Works from 1905 to 1952” will be watched on Almine Rech from March 1st to March 1st.
