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Dec 22, - Important art by Tamara de Lempicka with artwork analysis, influences, Artwork description & Analysis: One of the many portraits of her.
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In , she decided to move to Cuernavaca , Mexico. After the death of her husband in , Kizette moved to Cuernavaca to take care of de Lempicka, whose health was declining. De Lempicka died in her sleep on 18 March A resurgence of interest in Art Deco began in the late s. A retrospective of her work was held at the Luxembourg Gallery in Paris in , a few years before her death, and received positive reviews. A stage play, Tamara , was inspired by her meeting with Gabriele D'Annunzio and was first staged in Toronto; it then ran in Los Angeles for eleven years — at the Hollywood American Legion Post 43, making it the longest running play in Los Angeles, and some actors were employed over the years.

The best description of Lempicka's work was her own: "I was the first woman to make clear paintings", she later told her daughter, "and that was the origin of my success. Among a hundred canvases, mine were always recognizable. The galleries tended to show my pictures in the best rooms, because they attracted people.

My work was clear and finished. I looked around me and could only see the total destruction of painting. The banality in which art had sunk gave me a feeling of disgust. I was searching for a craft that no longer existed; I worked quickly with a delicate brush. I was in search of technique, craft, simplicity and good taste. My goal: never copy. Create a new style, with luminous and brilliant colors, rediscover the elegance of my models. She was one of the best-known painters of the Art Deco style, a group which included Jean Dupas , Diego Rivera , Josep Maria Sert , Reginald Marsh , and Rockwell Kent , but unlike these artists, who often painted large murals with crowds of subjects, she focused almost exclusively on portraits.


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Her first teacher at the Academie Ranson in Paris was Maurice Denis , who taught her according to his celebrated maxim: "Remember that a painting, before it is a war horse, a nude woman or some anecdote, is essentially a flat surface covered with colors assembled in a certain order. Her cubism was far from that of Pablo Picasso or Georges Braque ; For her, Picasso "embodied the novelty of destruction".

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Lempicka's technique, following Ingres, was clean, precise, and elegant, but at the same time charged with sensuality and a suggestion of vice. The smooth skin textures and equally smooth, luminous fabrics of the clothes were the dominant elements of her paintings. Known especially for her portraits of wealthy aristocrats, she also painted highly stylized nudes. She painted a number of Madonnas and turbaned women inspired by Renaissance paintings, as well as mournful subjects such as The Mother Superior , an image of a nun with a tear rolling down her cheek, and Escape , which depicts refugees.


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Between and the early s, Lempicka painted hard-edged abstractions that bear a stylistic similarity to the Purism of the s. Lempicka placed high value on working to produce her own fortune, famously saying, "There are no miracles, there is only what you make. Famous for her libido, Lempicka was bisexual. She often used formal and narrative elements in her portraits, and her nude studies included themes of desire and seduction. Kizette rarely saw her mother, but was immortalized in her paintings. Lempicka painted her only child repeatedly, leaving a striking portrait series: Kizette in Pink , ; Kizette on the Balcony , ; Kizette Sleeping , ; Portrait of Baroness Kizette , —, among others.

In other paintings, the women depicted tend to resemble Kizette. American singer Madonna is an admirer and collector of Lempicka's work [46] and has lent paintings to events and museums. On 16 May , in celebration of the th anniversary of her birth, Google made her the subject of the daily Google Doodle. From Wikipedia, the free encyclopedia. Tamara de Lempicka. Warsaw , Poland [a]. Cuernavaca , Mexico.

The Guardian.

Tamara de Lempicka was a famous Polish painter from the Art Deco movement

Retrieved 18 August The New York Times. Retrieved 13 May Retrieved 23 August Archived from the original on 16 May Retrieved 6 February Great women artists. Phaidon Press. The Culture Trip. Retrieved 26 October Archived from the original on 12 March Retrieved 17 March Lempicka, a truly modern woman living in Paris in the twenties between the wars, carefully crafted her own persona after the example of successful male artists before her. She was bold, rich, indulgent and sexually adventurous with both men and women. She took her cues from stage and film actresses—wearing glamorous fashions and even altering her name and fictionalizing some of her life story to suite different social occasions.

Lempicka also carefully crafted her paintings to have the monumentality, chiaroscuro and restrained power of the classic Italian sculptures she loved so much while stylistically they reflected the aesthetics and ideals of Futurism. He was against feminism and she was clearly a feminist! He was against beauty and she lavished in it—she shared the Futurists love of speed, technology and modern city life.

Her heavy-lidded seductive look emphatically states that she is in charge of her feminine sensuality while at the same time she is exercising her masculine need for the speed and autonomy that driving affords her. Such images of female power and mobility heralded a new species: the so-called modern woman.


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Women began to explore and expand the definitions of gender roles and part of that included relinquishing fanciful feminine fashions in favor of practical uniforms and male- Lempicka, Self-Portrait in the Green Bugatti, identified clothing. A small percentage of women went a step beyond boyish fashions and adopted the practice of wearing starched colors, tailored suit jackets, trousers and masculine sporting clothes. She was in fact born in Warsaw and moved to St.

Reworked Portraits by Tamara de Lempicka on Agatha Christie’s Poirot | Look Back & Hanker

Petersburg in , eventually marrying and having a daughter before fleeing to Paris. She allowed the mystery and discrepancies about her origins and even her gender to go on in the press until when she had a solo exhibit of her works in Milan, Italy. The highly successful exhibit gave her the freedom she needed to claim her own name and identity as a woman, Tamara Lempicka.

They stand so close together that their faces are almost touching. Lempicka often puts her figures into such tightly arranged compositions. Notice too, the geometric planes that make up the face and neck of her figures reflecting the same hard edges and geometric shapes that are in his works. Her painting is of a different sort of group of women than his, however. She is portraying the crop-haired masculinized women who attended lesbian nightclubs in Paris, here referred to by the number 47 in the background.

Around the same time, she began to incorporate city scenes and skyscrapers in the backgrounds of her portraits. After a trip to New York City in , skyscrapers became an integral symbol of modern life in her works, particularly as backdrops for her portraits.

She also dared to paint herself and her yrs younger male lover in the role of Adam and Eve, making her the first woman to paint this scene. Unlike artists before her, she placed the Biblical figures in a very modern context. She also emphasized their lustful sexuality rather than depicting their shame in having fallen from grace. Perhaps she was reflecting her own sexual freedoms as well as the mood of post-war France.

Tamara de Lempicka

Another female French painter exploring the female nude was Jacqueline Marval. Although Lempicka began painting nudes with an angular and geometric approach inspired by cubism, she soon transformed them into sleek, smooth and sensual nudes. I understand that the transition from Cubist attempts to this New-realism fulfills your inner need to exalt the plasticity of the human figure in all of the most intimate and profound expressions, and to grasp the most salient traits of physical beauty.

Joan Cox, Tamara de Lempicka: Portrait of the New Woman, Spring Lempicka, Rhythm, In , Lempicka posed an ambitious canvas of five nudes in a composition she calls Rhythm for its undulating female forms—although it also contains a cello that serves to imply rhythm and mimic the beautiful female forms she presents.

It is clear in this work that Lempicka is conquering the very same subject matter of the male artists of this time: the brothel full of available women. During the Russian Revolution of , her husband is arrested by the Bolsheviks: thanks to Tamara's intervention and her knowledge, her husband is released. They decide to move to Paris: here Tamara begins to paint. She creates a sophisticated and original pictorial style, unique and unmistakable. In she makes his first exhibition in the Salon d'Automne and soon became famous with the name of Tamara de Lempicka.

His paintings portray the life and the ways of his time fascinatingly: she realizes portraits of women of high society.