Marie Laurencin’s Apollinaire et ses amis (second version) is painted as an homage to Guillaume Apollinaire and the Cubist circle around him, situating her as a visible participant in early Cubist-era networks even as her style remained distinct.
Henri Rousseau completes The Muse Inspiring the Poet (1909), a prominent double portrait of Marie Laurencin and Guillaume Apollinaire—an emblem of Laurencin’s cultural visibility within Paris’s modernist avant-garde.
At the 1911 Salon des Indépendants, Laurencin exhibits with leading Cubists in the now-famous Salle/Room 41, a grouping that helped propel “Cubism” into broad public debate and scandal in Paris.
At the 1912 Salon d’Automne, the installation La Maison Cubiste presents a Cubist vision for modern interiors; contributors listed for the installation’s painted works include Marie Laurencin, underscoring women’s participation in Cubism’s public, salon-facing manifestations.
A special issue titled La Section d’Or is published to coincide with the 1912 exhibition, with contributions by figures including Apollinaire; it reflects how criticism and print culture amplified Cubism’s public presence (and the visibility of artists in its orbit).
The Salon de la Section d’Or (Galerie La Boétie, Paris) opens as a major prewar Cubist showcase, organized by artists tied to the Puteaux/Section d’Or circle; it aimed to make Cubism legible to wider audiences through exhibition strategy and publications.
Laurencin’s work is included in the 1913 Armory Show, a landmark event that introduced many American audiences to European modernism and helped internationalize reputations formed in the prewar Paris avant-garde.
During the prewar years and amid shifting affiliations within the avant-garde, Laurencin marries the German painter Otto von Waëtjen—a turning point that soon intersects with wartime displacement and a loosening of her direct association with Cubist circles.
Suzanne Duchamp completes Multiplication Broken and Restored (1919), a key work from her mechanomorphic, text-and-symbol-driven practice—often discussed as part of the broader transition from Cubist strategies into Dada-inflected modernism.
Suzanne Duchamp marries Jean Crotti in Paris, linking her more tightly to the Duchamp/Crotti avant-garde network that bridged Cubism’s aftermath into Dada-era experimentation; the marriage is often noted alongside Marcel Duchamp’s “unhappy readymade” wedding gift concept.
Suzanne Duchamp (with Crotti) exhibits works at the postwar-era Salon des Indépendants, a venue that helped re-stage the avant-garde in Paris and provided an important public platform as Dada gained traction in the early 1920s.
A second Salon de la Section d’Or is held at Galerie La Boétie in 1920, indicating continuing institutional afterlives of Cubism and its circles (including women associated with those networks) beyond the prewar peak.
Laurencin paints The Spanish Dancers (1921), commonly read as reflecting her return to Paris and the aftereffects of exile and separation, as her work continues to evolve away from the immediate prewar Cubist context.
Marie Laurencin and Otto von Waëtjen divorce on 25 June 1921, a step linked in accounts of her life to re-stabilizing her status and enabling her return to Parisian cultural life after wartime upheaval.
Women in Cubism: Marie Laurencin, Suzanne Duchamp, and Contemporaries (1909–1925)
