Portrait of Kizette - Tamara de Lempicka
Archival giclée
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Description
A refined Art Deco portrait of the artist's daughter, Kizette, rendered with the smooth, sculptural precision characteristic of Tamara de Lempicka.
Tamara de Lempicka, a central figure of the Art Deco movement, produced this portrait of her daughter, Kizette, during the height of her career in Paris. The work displays the characteristic precision and sculptural quality that defined her approach to portraiture. Lempicka utilised a smooth, polished application of paint, which minimised visible brushwork and created a surface reminiscent of metal or stone. This technique allowed her to model form with a high degree of clarity, giving the subject a statuesque presence.
The composition is structured around the verticality of the figure, set against a simplified architectural background. Kizette is depicted in a pink tunic, her posture relaxed yet formal. The lighting is directional, creating soft shadows that define the contours of her limbs and the folds of the fabric. Lempicka avoided unnecessary detail, choosing instead to focus on the interplay of light and shadow across the planes of the face and the body. The palette is restrained, relying on the contrast between the soft pink of the garment and the neutral tones of the surroundings to direct the viewer's attention to the subject.
This painting reflects the aesthetic priorities of the 1920s, where clarity of form and a sense of modern detachment were highly valued. Lempicka's work often bridged the gap between traditional portraiture and the streamlined sensibilities of the machine age. By stripping away extraneous elements, she achieved a composition that feels both timeless and specific to its period. The work remains a clear example of her ability to combine technical rigour with a distinct sense of style, capturing the essence of her subject through controlled geometry and a refined colour sense.
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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
Portrait of Kizette - 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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