Sometimes painting from a queer perspective (Laurencin had both male and female lovers), she enriched the Cubist vocabulary with a new tradition of sexual desire, as seen in Les Jeunes Filles (The Young Girls), 1910. The elongated, ethereal women depicted as simplistic curvilinear figures, are set against angular green and grey trees, bound together by music and dance, rhythm and form, suggesting a world full of freedom.
