Portrait of the Marquis d'Afflito - Tamara de Lempicka
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A 1925 Art Deco portrait by Tamara de Lempicka, featuring the Marquis d'Afflito in a sharp, sculptural style.
Tamara de Lempicka painted this portrait in 1925, during the height of her career in Paris. The work captures the Marquis d'Afflito in a relaxed, reclining pose, set against a backdrop of stylised foliage. Lempicka employs the sharp, sculptural forms characteristic of her Art Deco style, using light and shadow to define the volume of the subject's suit and facial features.
The composition relies on geometric precision. The subject's dark blue suit is rendered with smooth, metallic-like surfaces, contrasting with the lighter, angular planes of the shirt front. Lempicka's technique involves a controlled application of paint, resulting in a polished finish that removes visible brushwork. This approach creates a sense of detachment and cool composure, typical of the portraits she produced for the Parisian elite during the 1920s.
The background foliage, while organic in origin, is reduced to simplified, overlapping shapes that echo the angularity of the figure. This treatment flattens the space, pushing the subject to the front of the picture plane. The Marquis is depicted with a direct, steady gaze, his expression conveying a sense of self-assurance. The colour palette is dominated by deep blues, muted greens, and cream tones, maintaining a sense of harmony throughout the piece. This portrait remains a clear example of Lempicka's ability to synthesise classical portraiture traditions with the modern aesthetic of the interwar period.
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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
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- 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 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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