The Mother Superior - Tamara de Lempicka
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A striking 1935 portrait by Tamara de Lempicka, capturing a nun with precise, sculptural modelling and a poignant, singular tear.
Tamara de Lempicka, a figure synonymous with the polished aesthetic of the interwar period, produced this portrait in 1935. While the artist is widely recognised for her depictions of high-society figures and the glamorous lifestyle of the Parisian elite, this work represents a departure into a more sombre, psychological territory. The subject is a nun, rendered with the precise, sculptural modelling that defines Lempicka's mature style.
The composition focuses tightly on the face of the subject, framed by the stark, geometric lines of the wimple and habit. Lempicka employs a limited palette, relying on the contrast between the deep, shadow-filled black of the habit and the luminous, pale tones of the facial skin. The light source is directed to emphasise the contours of the face, drawing attention to the weathered texture of the skin and the single tear tracking down the cheek. This detail introduces a narrative element of sorrow or contemplation, which contrasts with the cool, detached technical execution typical of the artist's work.
Unlike the stylised, machine-age portraits that brought her fame, this painting demonstrates an interest in the emotional weight of the individual. The smooth, enamel-like finish of the paint surface is characteristic of her technique, which often drew inspiration from Renaissance masters while maintaining a distinctly modern, Art Deco sensibility. The lack of background detail ensures that the viewer remains engaged solely with the expression of the subject. It is a study in restraint, both in terms of the visual elements and the emotional delivery. The work remains a curious example of how Lempicka could adapt her signature technical precision to subjects far removed from the jazz-age salons she frequented.
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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
The Mother Superior - 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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