Redheaded Woman Reading - Tamara de Lempicka
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Descrizione
An early portrait by Tamara de Lempicka, capturing a woman in a moment of quiet study with a focus on form and warm, earthy tones.
Tamara de Lempicka, a Polish painter active in Paris during the interwar period, produced this portrait during her early years in France. The work displays the influence of her formal training under Maurice Denis and André Lhote. Unlike her later, highly polished and metallic Art Deco portraits, this piece retains a softer, more painterly quality that suggests an earlier stage in her stylistic development.
The subject is captured in a moment of quiet focus, seated with a book held in her lap. The composition relies on a muted palette of earthy browns and ochres, which contrasts with the striking, saturated red of the woman's hair. The drapery behind the figure is rendered with broad, simplified strokes, creating a sense of volume without excessive detail. The artist employs a structured approach to the figure, using light and shadow to define the form of the arms and the folds of the clothing.
This portrait demonstrates the artist's early interest in the human figure as a vehicle for psychological presence. The woman's posture is relaxed, yet the firm handling of the paint gives the figure a solid, sculptural quality. The background remains largely abstract, ensuring the viewer's attention stays fixed on the subject. This painting offers a glimpse into the formative period of an artist who would eventually become synonymous with the aesthetic of the 1920s. It avoids the rigid geometry of her later work, opting instead for a more traditional, yet modern, interpretation of the seated figure. The focus remains on the interplay between the warm tones of the hair and the subdued environment, creating a balanced visual experience.
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Redheaded Woman Reading - 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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