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| The Exhibition Making the Case for Art Without Men | The Exhibition Making the Case for Art Without Men |
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| “If you want what is commonly accepted as ‘a straight answer to a straight question,’ don’t go to Marie Laurencin to get it,” Dorothy Todd, the British magazine editor, wrote in 1928. If answers from Laurencin — one of the most notable female painters in interwar France — were anything like her work, of course they wouldn’t be straight, but coy, queer, covert and very pretty. | “If you want what is commonly accepted as ‘a straight answer to a straight question,’ don’t go to Marie Laurencin to get it,” Dorothy Todd, the British magazine editor, wrote in 1928. If answers from Laurencin — one of the most notable female painters in interwar France — were anything like her work, of course they wouldn’t be straight, but coy, queer, covert and very pretty. |
| “Marie Laurencin: Sapphic Paris,” a new exhibition that puts all of the artist’s coded qualities on full display, opened this week at the Barnes Foundation in Philadelphia. | “Marie Laurencin: Sapphic Paris,” a new exhibition that puts all of the artist’s coded qualities on full display, opened this week at the Barnes Foundation in Philadelphia. |
| Born in 1883 in Paris, Laurencin became a central member of the artistic avant-garde, ruled by her friend Picasso, in early 1900s Paris. By the 1910s, she had broken free of the Cubist grip to create a distinctive, immediately recognizable aesthetic all her own, in macaron tints that collectors couldn’t get enough of. After her death, in 1956, her work fell into relative obscurity. | Born in 1883 in Paris, Laurencin became a central member of the artistic avant-garde, ruled by her friend Picasso, in early 1900s Paris. By the 1910s, she had broken free of the Cubist grip to create a distinctive, immediately recognizable aesthetic all her own, in macaron tints that collectors couldn’t get enough of. After her death, in 1956, her work fell into relative obscurity. |
| The Barnes show is the first major solo Laurencin exhibition in the United States in three decades, and the first exhibition of her work to highlight the obvious: Laurencin’s art is unavoidably queer, and noticeably lacking in men. | The Barnes show is the first major solo Laurencin exhibition in the United States in three decades, and the first exhibition of her work to highlight the obvious: Laurencin’s art is unavoidably queer, and noticeably lacking in men. |