Portrait of Kizette - Tamara de Lempicka
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A refined Art Deco portrait of the artist's daughter, Kizette, rendered with the smooth, sculptural precision characteristic of Tamara de Lempicka.
Tamara de Lempicka, a central figure of the Art Deco movement, produced this portrait of her daughter, Kizette, during the height of her career in Paris. The work displays the characteristic precision and sculptural quality that defined her approach to portraiture. Lempicka utilised a smooth, polished application of paint, which minimised visible brushwork and created a surface reminiscent of metal or stone. This technique allowed her to model form with a high degree of clarity, giving the subject a statuesque presence.
The composition is structured around the verticality of the figure, set against a simplified architectural background. Kizette is depicted in a pink tunic, her posture relaxed yet formal. The lighting is directional, creating soft shadows that define the contours of her limbs and the folds of the fabric. Lempicka avoided unnecessary detail, choosing instead to focus on the interplay of light and shadow across the planes of the face and the body. The palette is restrained, relying on the contrast between the soft pink of the garment and the neutral tones of the surroundings to direct the viewer's attention to the subject.
This painting reflects the aesthetic priorities of the 1920s, where clarity of form and a sense of modern detachment were highly valued. Lempicka's work often bridged the gap between traditional portraiture and the streamlined sensibilities of the machine age. By stripping away extraneous elements, she achieved a composition that feels both timeless and specific to its period. The work remains a clear example of her ability to combine technical rigour with a distinct sense of style, capturing the essence of her subject through controlled geometry and a refined colour sense.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Portrait of Kizette - 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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