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In 1936, Marie Laurencin painted the painting La Répétition. At first sight, nothing distinguishes it from an agreed genre scene. A group of young women is assembled; one holds a libretto for the song, another a guitar for the music, yet another outlines a dance step, while the other two look at them. Without appearing to be so, this painting is nothing less than a reformulation of Les Demoiselles d'Avignon by Pablo Picasso, one of the inaugural works of modernism: the same curtain opened by one of the models, the same number of figures feminine in a pyramidal composition, same chromatic rhythms – a dog replacing a still life in the foreground. Except that, far from multiplying heterogeneities, the whole picture is marked by a principle of duplication. Repetition is not only the subject of the painting (repetition as necessary for a performance to be successful), it is also its method, embodied by the fact that all the faces are identical – a doubling within the doubling.

Curated by Éric de Chassey, Director General of the National Institute of Art History.


Le Centre Pompidou-Metz

Where does it take place?

57020 France Centre Pompidou-Metz, Parvis des Droits de l'Homme, Metz, France

Le Centre Pompidou-Metz
Centre Pompidou-Metz
Parvis des Droits de l'Homme
Metz
France



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fri. 26
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sat. 27
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  • 2023-02-04 10:00:00 2025-01-27 18:00:00 Europe/Paris La répétition In 1936, Marie Laurencin painted the painting La Répétition. At first sight, nothing distinguishes it from an agreed genre scene. A group of young women is assembled; one holds a libretto for the song, another a guitar for the music, yet another outlines a dance step, while the other two look at them. Without appearing to be so, this painting is nothing less than a reformulation of Les Demoiselles d'Avignon by Pablo Picasso, one of the inaugural works of modernism: the same curtain opened by one of the models, the same number of figures feminine in a pyramidal composition, same chromatic rhythms – a dog replacing a still life in the foreground. Except that, far from multiplying heterogeneities, the whole picture is marked by a principle of duplication. Repetition is not only the subject of the painting (repetition as necessary for a performance to be successful), it is also its method, embodied by the fact that all the faces are identical – a doubling within the doubling. Curated by Éric de Chassey, Director General of the National Institute of Art History. Centre Pompidou-Metz, Parvis des Droits de l'Homme, Metz, France Metz Métropole
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