Like most contemporary women of her time, Marie Laurecin was overshadowed by her male counterparts and never given full credit for her originality. She was known as the muse of famous poet, Guillaume Apollinaire, and remained in the shadow of avante garde giants like Pablo Picasso and Georges Braque. Interpretation of her paintings is limited and yet remains open to the observant eye and the visitor's personal experience. Such was the case with me. I googled her name and viewed an on-line gallery of her work. She made a strong impression and prompted me as a writer to define her subjects and how they might affect a woman's recognition of her own strengths and weaknesses, emotions and desires -- "a visual vocabulary" of being feminine.
The Effects Of Marie Laurecin
The ghost of her early training
a porcelain malaise
shining elusive and strange.
Her women glance downor away from the present
for a former life or lover to return
Yet, when we invade
our shadows tracing
what we have known
of lamenting on guitar,
touching the totemof our vulnerable self:
that sparrow ,doe, spaniel --
fern, feather, morning glory vine,
and wishing to accomplishwhat we fear we cannot not.
The potential shame always crushed in
like bone ash or clay.
Note -- The opening line in the poem refers to her training as a painter of porcelain.
The other paintings are those done by Marie-Laurecin.