Perspective - Tamara de Lempicka
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Beschreibung
A study of two female figures by Tamara de Lempicka, showcasing her signature Art Deco style with sculptural forms and smooth, enamel-like surfaces.
Perspective, painted by Tamara de Lempicka in the early 1920s, captures the stylistic transition of the artist as she moved toward the polished, sculptural aesthetic that defined her career. The composition features two female figures, one seated and one reclining, rendered with the volumetric weight and smooth surfaces characteristic of her mature work. Lempicka employs a palette of warm, golden flesh tones contrasted against cooler, shadowed backgrounds, creating a sense of physical presence that feels almost carved from stone.
The figures occupy a space defined by geometric planes and sharp angles, reflecting the influence of Cubism on her early training in Paris. Unlike the fragmented approach of her contemporaries, Lempicka uses these structural elements to organise the composition while maintaining the legibility of the human form. The drapery and the surrounding environment are reduced to simplified, angular shapes, which serve to direct the viewer's attention to the figures themselves. Her application of paint is precise, minimising visible brushwork to achieve a smooth, enamel-like finish.
This work demonstrates the artist's interest in the interplay between light and shadow, or chiaroscuro, which she adapted to suit the modern, streamlined sensibilities of the Art Deco period. The figures possess a detached, cool composure, a recurring trait in her portraiture. By focusing on the physical mass of the bodies, Lempicka creates a sense of stability and permanence. The painting functions as an exploration of form and volume, stripped of unnecessary detail, allowing the viewer to focus on the anatomical arrangement and the spatial relationship between the two subjects. It remains a clear example of the artist's ability to synthesise classical traditions with the visual language of the twentieth century.
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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
Perspective - 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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