Just when we thought we knew the landscape of French art in the first quarter of the 20th century, Marie Laurencin: Sapphic Paris, co-curated by Simonetta Fraquelli and Cindy Kang, shakes up the narrative with a fresh exhibition of a major Parisian painter largely neglected by art history. A bisexual woman (already two reasons for her prior invisibility in that now dated story), Laurencin (1883–1956) carefully crafted a “feminine” aesthetic into a significant body of work that was ahead of its time.
With the recent publication of the fourth and final volume of the Francis Picabia Catalogue Raisonné—a life’s work, of which he is a co-author—Camfield obtains his goal of making the WWII series known. Authored by Camfield, Beverley Calté, Candace Clements, and Arnauld Pierre, the four-volume catalogue raisonné includes 2,125 works spanning a range of media, predominantly painting and drawing.
ABSENT FROM THE FIRST RANK in modernist art histories, Sonia Delaunay occupies a prime place in narratives of twentieth-century textile design and fashion.1 A current retrospective calls that long-standing evaluation into question. Boldly redefining its subject as an “avant-gardist, entrepreneur and commercially minded businesswoman” descriptors that reverberate richly today the show at the Louisiana Museum of Modern Art in Humlebæk, Denmark, foregrounds its revisionist goals. From the outset, deep-rooted hierarchies segregating the fine and applied arts hierarchies that Delaunay herself never