Irene and Her Sister - Tamara de Lempicka
Archival giclée
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Description
A 1925 Art Deco portrait by Tamara de Lempicka, featuring two figures rendered with sculptural precision and smooth, geometric forms.
Tamara de Lempicka, a central figure of the Art Deco movement, painted Irene and Her Sister in 1925. The work displays her signature approach to portraiture, which combines the clean lines of neoclassical tradition with the geometric simplification characteristic of the era. The two figures are rendered with a sculptural quality, their forms defined by smooth, metallic surfaces and precise contours.
The composition focuses on the interplay between the two subjects, who are positioned against a stylised, dark background. Lempicka uses a restricted palette, allowing the focus to remain on the volume of the figures and the texture of their clothing. The woman on the left wears a simple, draped garment that emphasises the tubular structure of her body, while the figure on the right is distinguished by a cascade of golden hair that provides a contrast to the cooler tones of the surrounding environment.
Lempicka often drew inspiration from Renaissance masters, particularly in her treatment of light and shadow, yet she translated these influences into a modern idiom. Her work captures the spirit of the 1920s, reflecting a fascination with industrial precision and the sleek aesthetic of the machine age. The figures possess a detached, cool composure, a hallmark of her portraiture during this period. By stripping away unnecessary detail, Lempicka creates a sense of permanence and weight. This print captures the technical rigour of the original oil painting, preserving the subtle gradations of tone and the deliberate, controlled brushwork that defines her style. It is a representative example of how Lempicka merged classical discipline with the visual language of early twentieth-century modernism.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Irene and Her Sister - 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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