Double 47 - Tamara de Lempicka
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Beskrivning
A striking Art Deco portrait by Tamara de Lempicka, featuring two figures rendered with sculptural precision and a bold, modern colour palette.
Tamara de Lempicka, a Polish painter active in Paris during the 1920s, produced this work during the height of the Art Deco period. The painting features two figures rendered with the sculptural precision and smooth, metallic surfaces characteristic of her style. Her approach to portraiture during this decade often involved a synthesis of Cubist geometry and the polished finish of Neoclassical painting.
The composition focuses on the two heads, which are positioned against a stark, blue background. The figures possess the bobbed hairstyles popular in the 1920s, and their features are defined by strong, simplified planes of light and shadow. The artist uses a palette dominated by cool blues and warm, flesh-toned yellows, creating a contrast that draws the eye to the faces. The inclusion of the number 47, repeated in the upper right, adds a graphic, almost industrial element to the canvas, which aligns with the modern aesthetic of the era.
Lempicka was known for her ability to capture the glamour and detachment of the Parisian social scene. Her subjects often appear as icons of modernity, removed from the natural world and placed within a constructed, architectural space. This work demonstrates her technical control over oil paint, as she achieves a finish that mimics the appearance of polished stone or metal. The figures do not engage with the viewer, but rather exist within their own contained, artificial environment. This painting is representative of the artist's output during her most productive years in France, where she became a sought-after portraitist for the elite. Her work remains a clear example of the visual language of the interwar period, combining traditional portrait techniques with a distinctly modern, streamlined sensibility.
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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
Double 47 - 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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