'This is a central Laurencin paradox: She thrived in an art world that was almost entirely male by painting a world filled almost exclusively by women. When Laurencin pursued the French tradition of the 18th-century fête galante painting — pastoral scenes of courtship, flirtation and romantic intrigue epitomized by the work of Antoine Watteau — she excised all the men.'

https://www.nytimes.com/2023/10/25/style/marie-laurencin-barnes-foundation.html