Girl with Gloves - Tamara de Lempicka
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A 1929 Art Deco masterpiece by Tamara de Lempicka featuring a woman in a green dress and white gloves. This portrait uses sharp lines and sculptural forms to define the sophisticated aesthetic of the interwar period.
Tamara de Lempicka painted Girl with Gloves in 1929 during the height of the Art Deco movement in Paris. The work is a definitive example of her unique style, which combined elements of Cubism with the precision of Neoclassicism. Lempicka was influenced by Renaissance masters, particularly Botticelli, but she translated those classical forms into a modern, industrial aesthetic.
The subject wears a sleeveless green dress that appears almost metallic or architectural in its construction. The fabric is rendered with sharp, clean folds that suggest the influence of André Lhote, her teacher. Her skin has a smooth, porcelain finish, achieved through careful blending and a controlled use of light. The composition is dominated by the figure, who occupies almost the entire frame. She wears crisp white gloves and a wide-brimmed white hat that casts a shadow over her eyes, adding a sense of mystery to her expression.
Lempicka used a limited but bold colour palette. The bright green of the dress contrasts with the neutral tones of the background and the stark white of the accessories. The background consists of fragmented, geometric shapes that hint at an urban environment without depicting it literally. This abstraction keeps the focus entirely on the sitter.
The painting reflects the New Woman of the 1920s: independent and fashionable. Lempicka's technique involves a heavy application of paint to create a surface that looks polished and machine-made. This approach aligned with the contemporary interest in speed and luxury. The work is one of the most recognisable images from the interwar period, capturing the sophisticated atmosphere of Parisian high society.
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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
Girl with Gloves - 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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