Portrait of Nanade Herrera - Tamara de Lempicka
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Descrizione
A striking 1928 Art Deco portrait by Tamara de Lempicka, featuring the artist's signature sculptural modelling and precise, metallic finish.
Tamara de Lempicka, a central figure of the Art Deco movement, painted this portrait of Nanade Herrera in 1928. The work displays the artist's signature approach to portraiture, characterised by smooth, sculptural modelling and a precise, almost metallic finish. Lempicka often utilised a palette of cool tones contrasted with warm skin tones, creating a sense of volume and physical presence that aligns with the aesthetic priorities of the interwar period.
The subject, Nanade Herrera, is depicted with a deliberate sense of artifice. Her pose is calculated, and her expression carries a detached, aristocratic composure. Lempicka employs sharp lighting to define the contours of the figure, emphasising the smooth texture of the skin against the decorative elements of the lace and floral accessories. The composition relies on strong geometric lines and a controlled arrangement of space, which removes the subject from a naturalistic setting and places her within a stylised, theatrical environment.
This painting reflects the broader cultural fascination with modernity and glamour during the 1920s. Lempicka's technique, influenced by both Renaissance masters and contemporary cubist experiments, results in a form that appears both classical and avant-garde. The attention to detail in the rendering of fabric and the precise application of paint demonstrate the technical rigour that defined her career. By focusing on the interplay between light and shadow, Lempicka constructs a figure that feels solid and monumental. The portrait remains a clear example of how the artist translated the social atmosphere of Paris in the 1920s into a distinct visual language, prioritising form and surface over emotional narrative.
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- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
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Portrait of Nanade Herrera - 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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