The Refugees - Tamara de Lempicka
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Beschreibung
A sombre, sculptural portrait by Tamara de Lempicka, capturing the quiet exhaustion of two figures in a state of displacement.
Tamara de Lempicka, a central figure of the Art Deco movement, painted The Refugees in 1931. This work departs from her usual focus on the glamorous, high-society figures of interwar Paris. Instead, it captures a sombre, human moment, reflecting the displacement and uncertainty that defined much of the period. The composition features two figures, a woman and a child, huddled together in a state of exhaustion or quiet resignation.
Lempicka employs her characteristic sculptural style here. The forms are modelled with a metallic, almost machine-like precision, which creates a sense of solidity and weight. The lighting is dramatic, with deep shadows that obscure the background and focus the viewer on the weary expressions of the subjects. The palette is restricted, relying on dark tones and muted greys to convey the gravity of the situation. The smooth, polished surfaces of the clothing and skin are typical of her technical approach, where brushstrokes are hidden to create a seamless, photographic finish.
While Lempicka is often associated with the decadence of the Roaring Twenties, this painting demonstrates her capacity for social observation. The figures appear isolated, their physical proximity providing the only comfort in a bleak environment. The lack of specific detail in the setting forces the viewer to confront the emotional state of the individuals. It is a study in human resilience and the psychological toll of displacement. The work remains a distinct example of how the aesthetic rigour of Art Deco could be applied to themes of social hardship, moving beyond the decorative to address the realities of the human condition during a period of global instability.
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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 Refugees - 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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