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Bridget Alsdorf · At the Barnes: On Marie Laurencin

Bridget Alsdorf · At the Barnes: On Marie Laurencin
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Marie Laurencin: Sapphic Paris

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. ....

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Picasso's powerful portraits of his lover and his wife | Christie's

Picasso’s second wife Jacqueline (1927-1986) is immediately identifiable by her almond-shaped eyes and dark hair.
Femme assise dans un fauteuil noir (Jacqueline) was painted in 1962, a few months after their marriage. Gill describes it as ‘a more sculptural image, but like the Marie-Thérèse there is great physicality there.
‘At the time of the Jacqueline portrait,’ adds Gill, ‘Picasso was looking back at Old Master painters, engaging with artists such as Delacroix and Manet. The background has this very dramatic, Baroque feel, echoing Velázquez’s painting
Las Meninas, which he had studied intensely.’
The personalities that emerge from the two portraits are very different: where Marie-Thérèse is soft and sensual, Jacqueline is regal and commanding, as if the artist is in thrall to his new wife. ....

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