Marie Laurencin

Group of Artists

1907

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Marie Laurencin

Group of Artists

Marie Laurencin

Group of Artists

1907

Physical Qualities Oil on canvas, Unframed: 25 5/8 × 31 7/8 × 1 1/16 in. (65.1 × 81 × 2.7 cm.) Framed: 30 7/16 × 36 5/8 × 2 5/8 in. (77.3 × 93 × 6.7 cm.)

Credit Line The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland

Object Number 1950.215

Here, the areas of bold color, simplified form, and a lack of depth are connected to Marie Laurencin's early artistic associations with avant-garde artists and writers. In 1908, Laurencin, a printmaker, stage designer, and painter met Pablo Picasso (1881-1973) and poet Guillaume Apollinaire (1880-1918). The central figure in this group portrait is Apollinaire, seated holding an open book. The artist herself, with a portion of her face in shadow, stands behind him. Next to her is Picasso, presented in profile, accompanied by his dog Frika. The fourth figure on the right, Picasso's partner at the time, Fernande Olivier (1881-1966), seems bemused, her image somewhat compromised by the elaborate floral arrangement above her head.

The Baltimore Museum of Art by bequest, 1949; Etta Cone, Baltimore, by bequest, 1929; Claribel Cone by purchase, June 14, 1925; Gertrude Stein, Paris; the artist

Adelyn D. Breeskin, The Baltimore Museum of Art, "Cone Collection of Modern Paintings and Sculpture", April 1-December 1, 1930, no. 10. (Exhibited as "Portrait Group")

The Baltimore Museum of Art, "Cone Collection", May 12-October 1, 1934. (Exhibited as "Portrait Group")

Petit Palais, Paris, "Les Maîtres de l'art Indépendant, 1895-1937", June-October, 1937, no. 4. (Exhibited as Apollinaire et sa Famille")

Adelyn Breeskin, The Baltimore Museum of Art, "A Century of Baltimore Collecting 1840-1940", June 6-September 1, 1941.

Monroe Wheeler, The Museum of Modern Art, New York, "Twentieth-Century Portraits", December 9, 1942-January 24, 1943; circulated to The Baltimore Museum of Art, February 12-March 7, 1943.

Gertrude Rosenthal, The Baltimore Museum of Art, "Selections from the Cone Collection", October 7-December 31, 1949, no. 21.

Yale University Art Gallery, New Haven, "Pictures for a Picture of Gertrude Stein as a Collector and Writer on Art and Artists", February 11-March 11, 1951, no. 15; circulated to The Baltimore Museum of Art, March 21-April 21, 1951.

The Baltimore Museum of Art, "The Cone Collection", circulated to M. Knoedler & Company, New York, January 24-February 19, 1955.

James Johnson Sweeney, The Museum of Fine Arts, Houston, "The Heroic Years: Paris 1908-1914", October 21-December 8, 1965.

Margaret Potter, The Museum of Modern Art, New York, "Four Americans in Paris: The Collections of Gertrude Stein and Her Family", December 19, 1970-March, 1, 1971; circulated to The Baltimore Museum of Art, April 4-June 13, 1971; The San Francisco Museum of Art, September 9-October 31, 1971.

The Baltimore Museum of Art, "Women Artists", April 18-June 18, 1972.

Jane Harrison Cone, The Baltimore Museum of Art, "Cone Collection from The Baltimore Museum of Art", circulated to Wildenstein and Company, New York, March 29-May 4, 1974, no. 10.

Ann Sutherland Harris and Linda Nochlin, "Women Artists 1550-1950", The Los Angeles County Museum of Art, December 21, 1976-March 13, 1977, no. 131; circulated to the University Art Museum, Austin, TX, April 12-June 12, 1977; the Carnegie Institute, Pittsburgh, July 14-September 4, 1977; The Brooklyn Museum, October 8-November 22, 1977.

The Baltimore Museum of Art, "Masterpieces from the Cone Collection of The Baltimore Museum of Art", circulated to The Los Angeles County Museum of Art, October 6-November 24, 1985; circulated to the Kimbell Art Museum, Fort Worth, December 14, 1985-February 9, 1986.

Bernadette Contensou, Musée d'Art Moderne de la Ville de Paris, "Paris 1937 l'Art Indépendant", June 12-September 20, 1987, no. 94. (Exhibited as "Apollinaire et ses amis")

Brenda Richardson, The Baltimore Museum of Art, "Van Gogh to Matisse: Impressionist and Modern Masters from the Cone Collection of The Baltimore Museum of Art", circulated to The Museum of Fine Arts, Houston, November 21, 1993-January 30, 1994.

Brain Trust Inc., Isetan Museum of Art, Tokyo, "Matisse and Modern Masters from the Cone Collection of The Baltimore Museum of Art", October 3-December 28, 1996, no. 70; circulated to the Osaka Municipal Museum of Art, January 8-February 11, 1997.

The Baltimore Museum of Art and The Walters Art Gallery, Baltimore, The Baltimore Museum of Art, "The Triumph of French Painting: Masterpieces from Ingres to Matisse", March 12-July 16, 2000, no. 54; circulated to The Philbrook Museum of Art, Tulsa, August 13-November 26, 2000; The Norton Museum of Art, West Palm Beach, January 6-March 11, 2001; Royal Academy of Arts, London, June 30-September 23, 2001; Albright-Knox Art Gallery, Buffalo, November 3-January 6, 2002.

San Francisco Museum of Modern Art, "The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde", May 21-September 6, 2011, no. 77; circulated to the Réunion des Musées Nationaux-Grand Palais, Paris, October 3, 2011-January 16, 2012, and The Metropolitan Museum of Art, February 21-June 3, 2012 [San Francisco venue only]

Musée de l'Orangerie and the Musée d'Orsay, "Apollinaire Le regard du poète, (Apollinaire, the Look of the Poet)", April 5-July 18, 2016.

André Salmon, "Marie Laurencin," "L'Art Vivant," November 5, 1926, no. 45, p. 808, ill.

Katherine Scarborough, "Baltimore Collection Widely Known: Dr. Claribel Cone's Art Pieces are of International Note," "The Baltimore Sun," April 15, 1928, p. SM20.

The Baltimore Museum of Art, "Cone Collection of Modern Paintings and Sculpture," Baltimore: The Baltimore Museum of Art, 1930, p. 5, no. 10. (Published as "Portrait Group")

S.D. Emmart, "Art-The Cone Collection and The Independents' Exhibition," "The Baltimore Sun," March 30, 1930, Section 3, p. 12, ill. p. 12. (Published as "Portrait Group")

René Huyghe, "Le Cubisme," "L'Amour de l'Art," November 1933, no. 9, p. 2, fig. 263, ill. (Published as "Marie Laurencin, le Poète Apollinaire et ses amis")

Fernande Olivier, "Picasso et Ses Amis," Paris: Librairie Stock, Delamain et Boutelleau, 1933, pp. 130-131, 236, n.p., ill. (Published as "Picasso, Marie Laurencin, Guillaume Apollinaire, Fernande Olivier et la Chienne Frika")

Etta Cone, "The Cone Collection of Baltimore-Maryland," Baltimore: Etta Cone, 1934, p. 23, pl. 69, ill. (Published as "Groupe d'Artistes")

René Huyghe, ed., "Histoire de l'Art Contemporain: La Peinture," Paris: Librairie Félix Alcan, 1934, p. 2, fig. 263, ill. (Published as "Marie Laurencin, Le Poète Apollinaire et Ses Amis")

"Les Maîtres de l'art Indépendant, 1895-1937," Paris: Arts et Métiers Graphiques, 1937, p. 42, no. 4, ill. (Published as Apollinaire et sa Famille")

Raymond Escholier, "La Peinture Française XXe Siècle," Paris: Librairie Floury, 1937, p. 92.

The Baltimore Museum of Art, "A Century of Baltimore Collecting 1840-1940," Baltimore: The Baltimore Museum of Art, 1941, pp. 82, 116.

Monroe Wheeler, "20th Century Portraits," New York: The Museum of Modern Art, 1942, pp. 48, 139, p. 48, ill.

George Boas, Adelyn D. Breeskin, and J.G. D'Arcy Paul, "Selections from the Cone Collection," "News of the Baltimore Museum of Art," October 1949, vol. 13, no. 1, p. 13.

"$3,000,000 Art Collection," "Look," April 25, 1950, vol. 14, no. 9, pp. 106-107, ill. pp. 106-107.

"Dr. Claribel and Miss Etta, Collectors," "Art News," vol. XLVIII, no. 9, January 1950, p. 40.

Florent Fels, "L'Art Vivant de 1900 à Nos Jours," Geneva: Pierre Cailler, 1950, p. 202, ill. (Published as "Picasso, Marie Laurencin, Guillaume Apollinaire, Fernande Olivier et la chienne Frika")

Henry McBride, "Pictures for a Picture of Gertrude," "Art News," February 1951, vol. XLIX, no. 10, p. 17, ill.

Yale University Art Gallery, "Pictures for a Picture of Gertrude Stein as a Collector and Writer on Art and Artists," New Haven Yale University Press, 1951, p. 27, no. 15, ill.

Jaime Sabartes, "Picasso," Geneva: Pierre Cailler, 1954, no. 95, ill.

George Boas, Adelyn Breeskin, and Gertrude Rosenthal, "Cone Collection: A Handbook with a Catalogue of Paintings and Sculpture," Baltimore: The Baltimore Museum of Art, 1955, pp. 29, 40, no. 30, ill.

"The Cone Wing," "News of the Baltimore Museum of Art," March 1957, p. 9, ill. p. 9.

Pierre Courthion, "Paris in Our Time," Lausanne, Switzerland: Skira, 1957, pp. 96-97, 140, p. 97, ill.

Kenneth B. Sawyer, "The New Cone Wing at the Museum of Art," "The Baltimore Sun," February 24, 1957, p. SM 10, ill.

Elizabeth Sprigge, "Gertrude Stein: Her Life and Work," New York: Harper & Brothers, 1957, pp. vii, 67, n.p. ill.

Bernard Dorival, "Twentieth-Century Painters: Nabis-Fauves-Cubists, vol. 2" New York: Universe Books, 1958, p. 131.

Christopher Gray, "Marie Laurencin and Her Friends," "News of The Baltimore Museum of Art," February 1958, vol. XXI, no. 3, pp. 6-8, 10-13, ill. p. 7.

John Malcolm Brinnin, "The Third Rose: Gertrude Stein and Her World," Boston: Little, Brown and Company, 1959, ill. n.p. (Published as "Pablo Picasso, Fernande Olivier, Guillaume Apollinaire, Marie Laurencin; painting by Marie Laurencin")

"Museum of Art," "The Baltimore Sun," December 3, 1961, p. 223, ill.

Barbara Pollack, "The Collectors: Dr. Claribel and Miss Etta Cone," Indianapolis: The Bobbs-Merrill Company, Inc., 1962, pp. 183-216.

"News of the Baltimore Museum of Art," Summer-Autumn, 1963, vols. XXVI-XXVII, nos. 4, 1, cover page, ill. (Published as "Artists' Group")

Marina Grey, "Marie Laurencin," in "Nouveau Dictionnaire de la Peinture Moderne," Paris: Fernand Hazan, 1963, p. 20, ill. (Published as "Les Invités")

Cecily Mackworth, "Guillaume Apollinaire and the Cubist Life," New York: Horizon Press, 1963, p. 104.

Riccardo Barletta, Massimo Carrà, Dario Durbé, Renata Negri, Franco Russoli, "L'Arte Moderna, vol. 1: Realtà e Forma nel Postimpressionismo," Milan: Fratelli Fabbri, 1967, p. 437, p. 314, ill.

George Boas, Adelyn Breeskin, and Gertrude Rosenthal, "Paintings, Sculpture, and Drawings in the Cone Collection," Baltimore: The Baltimore Museum of Art, 1967, pp. 30, 66, no. 28, ill.

Pierre-Marcel Adéma, "Guillaume Apollinaire," Paris: Editions de la Table Ronde, 1968, no. 20, ill. (Published as "La Famille Picasso")

Herschel B. Chipp, "Theories of Modern Art: A Source Book by Artists and Critics," Berkeley: University of California Press, 1968, p. 195, ill.

James R. Mellow, "The Stein Salon was the First Museum of Modern Art," "The New York Times," December 1, 1968, p. SM48.

Roger Shattuck, "The Banquet Years: The Origins of the Avant Garde in France, 1885 to World War I," New York: Vintage books, 1968, insert, ill.

Simon Watson Taylor, "The First of the Mixed-Media Men," "The Observer Magazine," October 27, 1968, p. 64, ill.

"Americans in Paris," "Newsweek," December 14, 1970, n.p., ill.

Douglas Davis, "Americans in Pairs," "Newsweek," December 14, 1970, p. 80, ill.

The Museum of Modern Art, "Four Americans in Paris: The Collections of Gertrude Stein and Her Family," New York: The Museum of Modern Art, 1970, pp. 80, 157, pl. 26, ill.

Joseph T. Butler, "The American Way with Art," "The Connoisseur," October 1971, vol. 178, no. 716, fig. 4, ill, p. 133.

Douglas Cooper, Irene Gordon, Lucile M. Golson, Ellen B. Hirschland, Leon Katz and William Voss Elder, III, "Four Americans in Paris: The Collections of Gertrude Stein and Her Family," Baltimore: The Baltimore Museum of Art, 1971, p. 12.

Bennard Perlman, "Art," "Baltimore Magazine," April 1971, p. 82.

Theodore Reff, "Harlequins, Saltimanques, Clowns and Fools," "Artforum," 1971, volume X, no. 2, pp. 42-43, fig. 23, ill.

Jean-Luc Daval, "Journal de l'Art Moderne, 1884-1914" Geneva: Éditions d'Art Albert Skira, 1973, pp. 248, 299, 309, p. 248 ill. (Published as "Les Invités")

Edward Burns, ed., "Staying on Alone: Letters of Alice B. Toklas," New York: Liveright, 1973, pp. 102, 217.

"Reviews and Previews - Cone Collection," "Art News," January 1974, vol. 73, no. 1, p. 95.

The Baltimore Museum of Art, "Cone Collection from The Baltimore Museum of Art: A Benefit Exhibition at Wildenstein," Baltimore: The Baltimore Museum of Art, 1974, no. 10.

Edward Burns, "The New York Times Book Review," February 3, 1974, p. 1, ill.

Herbert Leibowitz, "Review - Charmed Circle and Staying on Alone," "The New York Times," February 3, 1974, Section 7, p. 1, ill.

James R. Mellow, "Charmed Circle: Gertrude Stein & Company," New York: Praeger Publishers, 1974, p. 346, n.p., ill.

Ann Sutherland Harris and Linda Nochlin, "Women Artists 1550-1950," New York: Alfred A. Knopf, 1976, pp. 58, 295-296, 357-358, 366, no. 131, ill.

Joseph T. Butler, "America," "The Connoisseur," March 1977, vol. 194, no. 781, p. 210, ill.

Charlotte Gere, "Marie Laurencin," New York: Rizzoli, 1977, pp. 8, 12, p. 30, ill. (Published as "Groupe d'artistes/Group of Artists")

Linda Nochlin, "Women Artists in the 20th Century: Issues, Problems, Controversies," "Studio International," 1977, vol. 193, no. 987, p. 170, ill.

Lynn Sherr, "On Top," "Working Woman," April 1977, vol. 2, no. 4, p. 8, ill.

Fritz Neugass, "Ausstellungen," "Du: Europäische Kunstzeitschrift," January 1978, p. 5, ill. (Published as "Künstler-Gruppe")

E. A. Carmean, Jr., "Picasso The Saltimbanques," Washington, DC: The National Gallery of Art, 1980, pl. 66, ill.

Daniel Marchesseau, "Marie Laurencin," Tokyo : Curieux-do, 1980, no. 10, p. 22, ill.

Edmund Burke Feldman, "The Artist," Englewood Cliffs, NJ: Prentice-Hall, Inc., 1982, pp. 193, 229, p. 193, ill.

Israel Rosen, "The Cone Sisters: Myths, Realities and Some Conjectures," "Helicon Nine: the Journal of Women's Arts and Letters," Winter 1983, no. 9, p. 84.

Haruki Yaegashi, Shinchiro Nakamura and Tetsuko Kuroyanagi, "Art Gallery 15 Laurencin," Tokyo: Shueisha, 1985, pl. 7, ill.

Brenda Richardson, "Dr. Claribel & Miss Etta: The Cone Collection of The Baltimore Museum of Art," Baltimore: The Baltimore Museum of Art, 1985, pp. 100, 109, 175, 200, ill. p. 100.

Emmanuel Cooper, "The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West," New York: Routledge and Kegan Paul, 1986, pp. 166-167, fig. 8.6, ill.

Daniel Marchesseau, "Marie Laurencin 1883-1956, Catalogue Raisonné de l'Oeuvre Peint," Tateshina-Kogen, Japan: Musée Marie Laurencin, 1986, p. 69, no. 48, ill.

"National Museum of Women in the Arts," New York: Harry N. Abrams, Inc., 1987, pp. 70, 252.

"Paris 1937 l'Art Indépendant," Paris: Musée d'Art Moderne de la Ville de Paris, 1987, pp. 104-105, 259, no. 94, ill. (Published as "Apollinaire et ses amis")

Julia Fagan-King, "United on the Threshold of the Twentieth-Century Mystical Ideal: Marie Laurencin's Integral Involvement with Guillaume Apollinaire and the Inmates of the Bateau Lavoir," "Art History," March 1988 vol. 11, no. 1, pp. 90-92, 94, 100, 103, 107, no. 61, ill.

José Pierre. "Marie Laurencin," Paris: Somogy, 1988, pp. 36, 47-49, 137, 142, p. 49, ill.

Shirley Neuman and Ira B. Nadel, eds., "Gertrude Stein and the Making of Literature," Boston: Northeastern University Press, 1988, no. 6, pp. vii, 61, 65-67, p. 88, ill.

Scott Bates, "Guillaume Apollinaire, Revised Edition" Boston: Twayne Publishers, 1989, Back flap, Cover page, Title page, ill.

Hajo Düchting, "Apollinaire zur Kunst: Texte und Kritiken 1905-1918," Cologne: DuMont Buchverlag, 1989, back cover, ill. (Published as "Auf der Umschlagrücklseite")

Judi Freeman, "The Fauve Landscape," New York: Abbeville Press, 1990, p. 113, pl. 126, ill.

Gilbert H. Muller, "Major Modern Essayists," Englewood Cliffs, NJ: Prentice-Hall, Inc., 1991, cover, ill.

Thomas Parsons and Iain Gale, "Post-Impressionism: The Rise of Modern Art," London: Studio Editions, 1992, pp. 174-175, 415, 421, fig. 167, ill.

Peggy Roalf, "Looking at Paintings Dogs," New York: Hyperion Books for Children, 1993, p. 29, ill.

Sherry Piland, "Women Artists: An Historical, Contemporary and Feminist Bibliography" Metuchen, NJ: The Scarecrow Press, 1994, pl. 19, ill.

William Rubin, Hélène Seckel and Judith Cousins, "Studies in Modern Art: Les Demoiselles d'Avignon," New York: Harry N. Abrams, 1994, pp. 61-62, 134, fig. 87, ill.

Southeastern College Art Conference Review, vol. XII, no. 4, Durham, NC: Southeastern College Art Conference, 1994, p. 269, ill.

"Spur Art & Travel France," Tokyo: Shueisha Inc., 1994, p. 88, ill.

Edmund Burke Feldman, "The Artist: A Social History, Second Edition," Englewood Cliffs, NJ: Prentice Hall, 1995, pp. 196, 233, p. 196, ill.

"Impressionist and Modern Paintings and Sculpture from the Collection of Donald and Jean Stralem," Sotheby's, New York, May 8, 1995, p. 66.

John Richardson, "A Life of Picasso, Volume II: 1907-1917," New York: Random House, 1996, pp. 65-67, p. 66, ill.

Nobuyuki Senzoku and Akira Tomita, "Matisse and Modern Masters from the Cone Collection of the Baltimore Museum of Art," Tokyo: Brain Trust Inc., 1996, pp. 134-135, 161, no. 70, ill.

Sona K. Johnston and William R. Johnston, "The Triumph of French Painting: Masterpieces from Ingres to Matisse," London: Scala Publishers, 2000, pp. 31, 146-147, 156, no. 54, ill.

Jay Fisher, "Dr. Claribel and Miss Etta Cone: A Collection of Modern Art for Baltimore," in Rosella Mamoli Zorzi, ed., "Before Peggy Guggenheim: American Woman Art Collectors," Venice: Marsilio, 2001, p. 122. (Published as "Picasso and Friends")

Gail Andrews Trechsel, Heather McPherson, David Moos, Jeannine O'Grody, Anne Forschler-Tarrasch and Jessica Stewart "Gracious Splendor: The William Hansell and Susan Mabry Hulsey Collection," Birmingham: Birmingham Museum of Art, 2001, p. 44, fig. 17, ill.

Kaori Kawataki, "Rôransan and Modigliani," Hakugado Shuppan, 2001, ill. (detail)

Adrian Hicken, "Apollinaire, Cubism and Orphism," Burlington, VT: Ashgate Publishing Company, 2002, pp. 46-47, pl. 53, ill. (Published as "Apollinaire et ses amis")

Makiko Horio, "Self Portraits of Female Artists," Kyoku: Bunka Shuppan, 2002, ill.

Laurie Schneider Adams, "Art across Time," 2nd ed., Vol. II, New York: McGraw Hill, 2002, no. 25.5, p. 889, ill.

Tokyo Metropolitan Teien Art Museum and Kyodo News, "Marie Laurencin: A Retrospective," Tokyo: Tokyo Metropolitan Teien Art Museum, Musée Marie Laurencin, Utsunomiya Museum of Art, Kyodo News, 2003, pp. 42, 194, 214, Pl. 1, ill.

David Fraser Jenkins and Chris Stephens, eds., "Gwen John and Augustus John," London: Tate Publishing, 2004, p. 34, fig. 15, ill.

Emily D. Bilski and Emily Braun, eds., "Jewish Women and Their Salons: The Power of Conversation," New Haven: Yale University Press, 2005, pp. 121-123, fig. 125, ill.

Kenneth E. Silver, "Paris Portraits: Artists, Friends, and Lovers," New Haven: Yale University Press, 2008, p. 37, ill.

Lucy Daniel, "Gertrude Stein," London: Reaktion Books, Ltd., 2009, p. 128, ill.

R. A. Scotti, "Vanished Smile: The Mysterious Theft of Mona Lisa," New York: Vintage Books, 2009, n.p., ill.

R. A. Scotti, "De Verdwennen Mona Lisa," Utrecht, The Netherlands: A. W. Bruna, 2009, n.p., ill. (Published as "Groep kunstenaars")

H.H. Arnason and Elizabeth C. Mansfield, "History of Modern Art: Painting, Sculpture, Architecture, Photography, Sixth Edition," Upper Saddle River, NJ: Prentice Hall, 2010, pp. 183, 815 fig. 8.35, ill.

Janet Bishop, Cécile Debray, and Rebecca Rabinow, eds., "The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde," San Francisco: The San Francisco Museum of Modern Art, 2011,, pl. 207, cat. 77, pp. 267, 404, 459, ill.

Fillion, Susan. Miss Etta and Dr. Claribel: Bringing Matisse to America. Boston: David R. Godine, 2011, page 27.

Carole Aurouet, Claire Bernardi, Émilie Bouvard, laude Debon, Laurence Campa, Laurence des Cars, Sylphide de Daranyi, Cécile Debray, Cécile Girardot, Donatien Grau, Étienne-Allain Hubert, Jean-Jacques Lebel, Maureen Murphy, Didier Ottinger, Émilia Philippot, Peter Read, Henri Soldani, "Apollinaire Le regard du poète," Paris: Éditions Gallimard, 2016, ill. p. 23.

Caso, Ángeles. Ellas Mismas: Autorretratos de pintoras. Oviedo, Spain: Libros de la letra azul, 2016.

Dethurens, Pascal. Éloge due Livre: Lecteurs et écrivains dans la littérature et la peinture. Vanves, France: Éditions Hazan, 2018.

Inscribed: Recto: Lower left in black paint, "Marie Laurencin/1908" Verso: The painting has been wax lined and there are no visible inscriptions on the verso. Frame Inscriptions Verso: There are no visible inscriptions on the verso