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16
Marie LAURENCIN (1883-1956)
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Marie LAURENCIN (1883-1956)
Watercolor and pencil on paper, signed lower right
13 3/8 x 9 7/8 in.
Marie Laurencin was born in 1883 as an illegitimate child, and received a well-rounded middle-class education. Her natural inclination for the arts, whether literature, painting or music, led her to study drawing at the Paris municipal art school and the Académie Humbert.
She exhibited for the first time in 1907, then meeting Picasso, and becoming close to the artists of the Bateau-Lavoir. She had strong connections with the Fauvists and Cubists, and incorporated many of their aesthetic innovations into her work, like the simplification of forms. Yet she remained on the margin of these artistic groups and created her own style. She mainly painted slender, diaphanous female figures in a restricted, liquid palette.
This watercolour encapsulates the main principles of her work. It is a double portrait of two very young women, whose sweet faces are set off by light, pale pink clothing. The use of watercolour contributes to the impression of evanescence created by the two sylphs, as it enables the artist to make play with the material and transparency. The palette is also very typical of her work. It remains within her usual range of greys, pinks and blues, which enchantingly highlight the fragility and delicacy of the girls.
With their white skin, similar hairstyles and veil-like dresses, they seem to come straight out of a dream. The indistinct background enhances the sense of the immaterial and fantastic that makes Laurencin's work so poetic.
Watercolor and pencil on paper, signed lower right
13 3/8 x 9 7/8 in.
Marie Laurencin was born in 1883 as an illegitimate child, and received a well-rounded middle-class education. Her natural inclination for the arts, whether literature, painting or music, led her to study drawing at the Paris municipal art school and the Académie Humbert.
She exhibited for the first time in 1907, then meeting Picasso, and becoming close to the artists of the Bateau-Lavoir. She had strong connections with the Fauvists and Cubists, and incorporated many of their aesthetic innovations into her work, like the simplification of forms. Yet she remained on the margin of these artistic groups and created her own style. She mainly painted slender, diaphanous female figures in a restricted, liquid palette.
This watercolour encapsulates the main principles of her work. It is a double portrait of two very young women, whose sweet faces are set off by light, pale pink clothing. The use of watercolour contributes to the impression of evanescence created by the two sylphs, as it enables the artist to make play with the material and transparency. The palette is also very typical of her work. It remains within her usual range of greys, pinks and blues, which enchantingly highlight the fragility and delicacy of the girls.
With their white skin, similar hairstyles and veil-like dresses, they seem to come straight out of a dream. The indistinct background enhances the sense of the immaterial and fantastic that makes Laurencin's work so poetic.