Kizette on the Balcony - Tamara de Lempicka
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Beschreibung
A classic Art Deco portrait by Tamara de Lempicka, featuring her daughter Kizette in a stylised, geometric urban setting.
Tamara de Lempicka painted this portrait of her daughter, Kizette, in 1927. The work captures the aesthetic of the interwar period in Paris, where Lempicka became a central figure in the Art Deco movement. The composition features Kizette seated on a balcony, with a stylised urban backdrop visible behind her.
Lempicka employs a precise, sculptural approach to form. The figure of the young girl is rendered with smooth, metallic surfaces and clear, defined contours. Her white dress is depicted with sharp, angular folds that suggest the influence of Cubism, though the overall effect remains grounded in a refined, classical portraiture tradition. The lighting is dramatic, creating strong contrasts between the illuminated skin and the deeper shadows of the balcony setting.
Behind the subject, the cityscape is reduced to geometric shapes and planes. This treatment of the background provides a sense of depth while maintaining the flatness characteristic of the period's graphic design. The ironwork of the balcony railing adds a decorative, rhythmic element to the lower right of the frame, balancing the verticality of the figure.
This portrait is one of several depictions of Kizette by her mother. It reflects the artist's interest in modern life and the polished, machine-age aesthetic that defined the 1920s. The cool, controlled palette and the detached expression of the sitter contribute to the work's sense of poise. Lempicka's technique, often described as 'soft Cubism', is evident here in the way she synthesises realistic anatomy with the simplified, geometric structures of the modern era. The painting remains a representative example of the artist's technical precision and her ability to merge traditional portraiture with the stylistic innovations of her time.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Kizette on the Balcony - Tamara de Lempicka
Artist Biography
Tamara De Lempicka
In December 1917, the Cheka arrested her husband Tadeusz Lempicki in the night, suspected of connections to the Tsar's secret police. She searched the prisons for him and reportedly secured his release by offering favours to the Swedish consul. They fled through Copenhagen and London to Paris. She initially signed her paintings Lempitzky, the masculine form of the name, to be taken more seriously. Critics praised the work, thinking a man had made it.
She moved in the lesbian and bisexual salons of 1920s Paris, a circle that included Vita Sackville-West and Colette. Her female portraits carry both the painter's gaze and the lover's. Perspective (The Two Girlfriends), shown at the 1923 Salon d'Automne, was among the earliest. Her style blended a late, polished Cubism with neoclassical form, influenced by Ingres but drenched in the glamour and geometry of Art Deco.
In 1929, she painted herself for the cover of the German fashion magazine Die Dame: Autoportrait (Tamara in a Green Bugatti). The car in the painting was a Bugatti. Her actual car was a yellow Renault.
She divorced Tadeusz in 1928 and married Baron Raoul Kuffner, an Austro-Hungarian art collector. They moved to America in 1939 to escape the war. She became a favourite of the Hollywood set. After the war, her work drifted into obscurity. The Art Deco revival brought her back: a 1972 retrospective at the Galerie du Luxembourg restored her reputation. A stage play called Tamara ran in Los Angeles for eleven years, from 1984 to 1995, the longest-running play in the city's history. Madonna became a major collector. She died in 1980.
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