瑪麗•羅蘭珊(Marie Laurencin, 1883-1956)是20世紀初，在當時以男性主流為主的畫壇界裡，少數以職業畫家的身分闖蕩藝術領域的傑出女畫家之一。儘管羅蘭珊的一生共歷經了第一次和第二次世界大戰，但戰亂的苦難並未摧毀羅蘭珊對繪畫的熱誠，反而使她更加全心地投入繪畫創作，她除了寄望在繪畫領域中找尋自我之外，同時也將她心中那股鬱悶的能量藉此得以釋放。
在本文中，筆者希望能有系統地先針對羅蘭珊的繪畫生涯、繪畫思維、風格特質，以及裝飾美學等不同層面與角度，進行研究與分析有關羅蘭珊獨具柔美、感性和抒情的女性美學。另外，筆者亦整理出西方女性藝術家崛起的發展脈絡，試圖理解羅蘭珊對女性畫家崛起的貢獻與影響。筆者認為女性畫家們從傳統社會的束縛再到「女性主義」藝術 (Feminist Art)的發展中，羅蘭珊是最早能夠脫離男性主流，堅持表現自我女性精神的女畫家們，她以專有的「女性化」繪畫特質與裝飾美學，自創一格，不但率先帶領了女性畫家以自由精神的意識進行繪畫創作，更對女性畫家崛起的發展具有其承先啟後的地位。
最後，筆者將研究羅蘭珊的心得，加以運用在個人作品上，尤其是將羅蘭珊創作畫風中的女性化特質作為自我繪畫的元素，並融合生活美學中自我情感的體悟，再根據自己對生活周遭觀察與審美後所得的經驗，加以吸收、轉化後，透過自我繪畫創作來表現出與眾不同的美感形式，成為一幅幅美麗又多情的人像畫作品。
Marie Laurencin was one of the rare examples of professional female painter in early 1920s, while male painters were still the majority of the field of painting art. Although Laurencin had experienced the First and the Second World War, the pain of warfare did not diminish her passion on painting; instead, she devoted to painting even more because of her experience. She attempted to search for her self-concept through painting; she released that depressive power inside of her through painting as well.
This article attempts to analyze and study the Laurencin’s unique, tender and sentimental feminist aesthetics systematically through the following perspectives: Laurencin’s career of painting, her mindset of painting, her painting style and the decorative aesthetics. This article also analyzes the history of rising of western female artists, and tries to elaborate Laurencin’s contribution and impact in it. This article suggests that Laurencin was the first female painter who get rid of the masculine majority and the constraints of tradition, and eventually developed the feminist art and presented the feminist free spirit in her paintings. She made her stand by her exclusive feminist painting features and decorative aesthetics. Not only had she leaded the free spirit of painting creation of female painters, but also became the milestone of female painters’ rising.
Lastly, the author of this article attempts to employ her understanding of Laurencin, especially Laurencin’s feminist painting style, into his/her personal creations. He/She also combines the understanding of feeling in life aesthetics and the observation of living environment with his/her creations. After the digestion and transformation of these experience, he/she presents his/her unique aesthetics through these beautiful and sentimental self-portrait paintings.
