Portrait of Tadeusz de Lempicki - Tamara de Lempicka
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Descrizione
A striking 1928 Art Deco portrait by Tamara de Lempicka, depicting her husband with sculptural precision and a refined, monochromatic palette.
Tamara de Lempicka painted this portrait of her husband, Tadeusz de Lempicki, in 1928. The work captures the aesthetic of the interwar period, blending the precision of Neoclassicism with the geometric simplification characteristic of the Art Deco movement. Lempicka employs a smooth, enamel-like finish that removes visible brushwork, creating a polished surface that reflects the modernity of the era.
The subject is depicted with a stern, focused expression, his features rendered with sharp, sculptural clarity. He wears a heavy, dark overcoat and a white scarf, garments that provide a stark contrast against the muted, architectural background. The composition utilises strong diagonal lines and deep shadows to model the figure, giving the portrait a sense of weight and physical presence. The background hints at an urban environment, with vertical forms suggesting the skyscrapers of a modern city, which aligns with the artist's fascination with the industrialised world of the 1920s.
Lempicka's approach to portraiture often involved a deliberate stylisation of the human form. In this piece, the hands are painted with particular attention to their structure, while the face is defined by high-contrast lighting that emphasises the cheekbones and the set of the jaw. The limited colour palette, dominated by blacks, greys, and whites, focuses the viewer's attention on the psychological intensity of the sitter. This portrait remains a representative example of Lempicka's ability to synthesise traditional portrait techniques with the streamlined, modern sensibilities of her time.
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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 Tadeusz de Lempicki - 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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