there is bound to be more or less confusion
even to the highly perceptive artist and this must therefore confuse
the casual observer and layman. So it is, or was at that time with the
painting of Robert Delaunay and Mme. Delaunay Terck; what you learned
in this instance was that the more vigorous of the pictures were hers.
She showed the same strength and style in her work as in her
interesting personality which was convincing without being too
strained or forced; she was most probably an average Russian woman
which as one knows means a great deal as to intelligence and personal
power.

MARIE LAURENCIN

With Marie Laurencin there was a greater sense of personal and
individual creation. One can never quite think of anyone in connection
with her pictures other than the happy reminiscence of Watteau. With
her work comes charm in the highest, finest sense; there is nothing
trivial about her pictures, yet they abound in all the graces of the
18th Century. Her drawings and paintings with spread fans and now and
then a greyhound or a gazelle opposed against them in design, hold
grace and elegance of feeling that Watteau would certainly have
sanctioned. She brings up the same sense of exquisite gesture and
simplicity of movement with a feeling for the romantic aspect of
virginal life which exists nowhere else in modern painting. She
eliminates all severities of intellect, and super-imposes wistful
charm of idea upon a pattern of the most delicate beauty. She is
essentially an original which means that she invents her own
experience in art.

Marie Laurencin concerns herself chiefly with the idea of girlish
youth, young girls gazing toward each other with fans spread or
folded, and fine braids of hair tied gently with pale cerise or pale
blue ribbon, and a pearl-like hush of quietude hovers over them. She
arrests the attention by her fine reticence and holds one's interest
by the veracity of esthetic experience she evinces in her least or
greatest painting or drawing. She paints with miniature sensibility
and knows best of all what to leave out. She is eminently devoid of
excessiveness either in pose or in treatment, with the result that
your eye is refreshingly cooled with the delicate process.

That Marie Laurencin keeps in the grace of French children is in no
way surprising if you know the incomparable loveliness of them. Apart
from her modernistic excellence as artist, she conveys a poetry so
essentially French in q