Nude on a Terrace - Tamara de Lempicka
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Beschreibung
A classic Art Deco portrait by Tamara de Lempicka, featuring a reclining nude rendered with sculptural precision and smooth, metallic tones.
Tamara de Lempicka, a central figure of the Art Deco movement, produced this work during her most productive period in Paris. The painting displays her characteristic approach to the human form, which combines classical sculptural volume with the streamlined aesthetics of the 1920s. The figure is rendered with smooth, metallic skin tones and precise, clean contours that suggest a polished, machine-age sensibility.
The composition is structured around the reclining nude, whose posture echoes traditional odalisque themes while rejecting the soft, painterly textures of earlier centuries. Instead, Lempicka employs a hard-edged technique, using light and shadow to define the musculature and curves of the body. The background, featuring a terrace setting with stylized foliage, provides a geometric contrast to the organic form of the subject. Her use of a restricted, cool-toned palette, punctuated by the sharp red of the lips and fabric, creates a sense of detachment and composure.
Lempicka often painted the social elite of the interwar years, and this work reflects the era's fascination with modernity, luxury, and self-assured femininity. The figure does not look towards the viewer, but rather gazes into the distance, maintaining an air of mystery. The application of paint is remarkably flat, concealing the brushwork to achieve a finish that resembles enamel or polished stone. This technical precision is a hallmark of her style, separating her work from the looser, more expressive movements of the time. By synthesising Renaissance influences with contemporary graphic design, Lempicka created a visual language that remains distinct within the history of twentieth-century portraiture.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Nude on a Terrace - 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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