Portrait of the Marquis d'Afflito - Tamara de Lempicka
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Beschreibung
A 1925 portrait by Tamara de Lempicka, capturing the refined aesthetic of the Art Deco era through sculptural forms and precise, polished brushwork.
Tamara de Lempicka painted this portrait of the Marquis d'Afflito in 1925. It is a characteristic example of her work during the height of the Art Deco period in Paris. The subject is depicted in a relaxed, reclining pose, wearing a formal dinner jacket with a bow tie. Lempicka employs a sculptural approach to the figure, using smooth, rounded forms and precise, clean edges that define the sitter's physique and clothing. The lighting is dramatic, creating sharp contrasts that emphasise the volume of the subject against the stylised, geometric foliage in the background.
Lempicka was known for her ability to capture the glamour and modernity of the 1920s. Her technique often involved a polished, enamel-like finish, which she achieved through careful layering of oil paint. This portrait demonstrates her interest in the intersection of classical portraiture traditions and contemporary modernist aesthetics. The composition is balanced, with the diagonal line of the Marquis's body providing a sense of movement within the static frame. The colour palette is dominated by deep blues and muted greens, which serve to focus the viewer's attention on the subject's face and hands. The Marquis's expression is composed, reflecting the detached, sophisticated persona often associated with Lempicka's subjects from this era. This work remains a clear representation of the artist's technical precision and her contribution to the visual culture of the interwar period.
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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 the Marquis d'Afflito - 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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