Perfect Little Girls (Les Petites Filles Modèles PMA(6s)

Week 8 Domesticity (1336 – 1340) 3/26– 3/30/2023

ID 1339

Marie Laurencin French 1883-1956

Perfect Little Girls (Les Petites Filles Modèles, 1913

Oil on panel

As a modern painter in Paris in the years before World War I, Marie Laurencin belonged to the circle around Pablo Picasso and regularly participated in the exhibitions of the Cubist group. This picture’s abstract and simplified forms connect it to Cubism.

The exploration of a feminine world was Laurencin’s lifelong artistic preoccupation. Here she depicts a domestic interior with a floral still life, a framed self-portrait, and red bound volumes in famous Bibliothèque Rose series of books for young readers. The title of a popular edition in that series, Perfect Little Girls, floats across the book’s spines.

A.E. Gallatin Collection, 1944-12-1

From the Placard: The Philadelphia Museum of Art, PA

www.philamuseum.org/

In some versions of the story, Marie Laurencin entered the Bateau-Lavoir and fell straight into a plate of jam tarts. By now, she was more or less accepted by the male painters as one of the ‘bande’, though not by Fernande. Gertrude and Leo had just purchased Marie’s group portrait “Apollinaire et ses amis,” in which she appears with Apollinaire, Picasso and Fernande, an endorsement of her talent—and of her place in the ‘bande’—which (especially given that Gertrude had already been shown Fernande’s work and made no such investment) could hardly endeared her to Fernande.

When Rousseau arrived (accompanied by Apollinaire, Picasso or alone, depending on the version of events), he was shown to the seat of honour at the centre of the table. Seated opposite him was his portrait of the Polish schoolteacher, Picasso’s purchase and the reason the party had come about. Picasso’s opened the proceedings. Monsieur Rousseau, he announced, ‘cher grand maître’, we are very hououred by your presence. Braque played a little fanfare on his accordion to welcome the honoured guest to his garlanded throne. Rousseau responded in a formidable tone, and the celebrations began. Apollinaire then stood on the table to read his celebratory rhyming poem ‘A Notre Rousseau’; everyone joined in the chorus

Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art, Penguin Books, 2014, pg 253

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Taken on: March 5, 2017

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Marie Laurencin

Philadelphia Museum of Art

Sony

NEX-5

SEL-1670Z

Sony Photographing

ART

Art Gallery and Museums

Sue Roe « less

Sets appears in: • Identify the Artist XVIII • Philadelphia Museum of Art

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Camera: Sony NEX-5, f/4.0, 1/30 sec, 18mm (=27mm), ISO 800 (more info) (hide info)

Camera:	Sony NEX-5
Lens:	E 16-70mm F4 ZA OSS
Aperture:	f/4.0
Exposure Time:	0.033 sec (1/30)
Focal Length:	18mm (35mm equivalent: 27mm)
ISO:	800
Exposure Bias:	+1.3 EV
Flash:	Off, Did not fire
Exposure Program:	Program AE
Exposure Mode:	Auto bracket
Metering Mode:	Multi-segment
White Balance:	Auto
Color Space:	sRGB
Software:	Adobe Photoshop Elements 15.0 (Windows)
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