The Peasant Girl - Tamara de Lempicka
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Beschreibung
A 1930 portrait by Tamara de Lempicka, featuring a contemplative figure rendered with the artist's signature sculptural precision and smooth, metallic finish.
Tamara de Lempicka, a Polish painter active in Paris during the interwar period, is recognised for her distinct approach to portraiture. This work, painted in 1930, demonstrates her signature synthesis of neoclassical form and modern aesthetic sensibilities. Unlike her more famous depictions of high-society figures, this composition focuses on a solitary subject, rendered with the sculptural precision that defined her career.
The figure is captured in a moment of quiet contemplation, her gaze directed downward towards a simple vessel held in her hands. Lempicka employs a controlled, smooth application of paint, which minimises visible brushwork and creates a polished, metallic surface quality. The drapery, rendered in shades of olive green and white, provides a sense of volume and weight, contrasting with the smooth, rounded features of the subject's face. The lighting is directional, casting soft shadows that define the contours of the figure and the folds of the fabric, lending the scene a sense of stillness.
Lempicka's training under Maurice Denis and André Lhote is evident in the structural clarity of the composition. She adopts a geometric approach to the human form, yet maintains a focus on the psychological presence of the sitter. The palette is restrained, relying on earthy tones and cool blues to establish a sombre, grounded atmosphere. This work offers a view into the breadth of Lempicka's practice, showing her ability to apply her stylised, hard-edged technique to subjects outside of her usual urban, glamorous milieu. The result is a study of form and light that remains consistent with the broader stylistic currents of the 1930s, while maintaining the artist's unique visual language.
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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
The Peasant Girl - 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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