Portrait of Suzy Solidor - Tamara de Lempicka
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Beschreibung
A 1933 Art Deco portrait by Tamara de Lempicka, featuring the singer Suzy Solidor rendered with sculptural precision and geometric backgrounds.
Tamara de Lempicka painted this portrait of the French cabaret singer and actress Suzy Solidor in 1933. The work captures the aesthetic of the interwar period, blending the precision of neoclassical portraiture with the geometric simplification characteristic of the Art Deco movement. Lempicka, a Polish artist who established her career in Paris, became known for her polished, metallic surfaces and sculptural treatment of the human form.
In this composition, Solidor is depicted with a characteristic bobbed hairstyle and a direct, composed gaze. Her figure is rendered with smooth, rounded volumes that contrast against the sharp, angular architecture in the background. The artist employs a controlled palette, focusing on skin tones, deep shadows, and the stark white of the urban structures behind the subject. The lighting is theatrical, creating a sense of volume that makes the figure appear almost carved from stone or metal.
Lempicka often chose subjects from the social and artistic circles of 1930s Paris. Suzy Solidor was a prominent figure in these circles, and Lempicka’s depiction reflects the self-assured, modern identity associated with the era. The painting avoids soft textures, opting instead for a clean, hard-edged finish that aligns with the industrial and machine-age sensibilities of the time. The focus remains on the structural integrity of the pose and the interplay between the organic curves of the body and the rigid geometry of the setting. This piece remains a representative example of Lempicka's technical approach to portraiture during her most active years in France.
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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
Portrait of Suzy Solidor - 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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