Tamara de Lempicka Posters Prints Paintings

Jeune Fille Vert

La Dormeuse Art Print

Autoportrait, 1925

Adam and Eve

Portrait de Madame P

Portrait of Mlle. Poum Rachou

Le Chemise Rose

Two Friends Art Print

Portrait d'Ira Art Print

L'Eclat Art Print

Saint Moritz Art Print

Portrait Fille Art Print

Femme a Guitare

Green Turban Giclee Print

Bathing Women Art Print

Tamara de Lempicka's name at birth was Maria Gorska. She had been Warsaw, Poland into a affluent family, her father was a Polish attorney, her mother, the previous Malvina Decler, a Polish socialite. Maria was the middle child in a family with two other children. She went to boarding school and in 1911, spent the winter traveling with her grandmother through Italy and the French Riviera where she received to her first experience of the Great Masters of Italian art. During 1912, her parents divorced and as a result, Tamara relocated to St. Petersberg, Russia to stay with a wealthy aunt named Stefa. Once her mother remarried, Tamara resolved to have to a life of her own without the influence of her parents. In 1913, when Tamara was 15, she was at an opera house where she saw the man she became resolute to wed, Tadeusz Lempicki. Through her well affiliated uncle Tamara pursued Tadeusz and in 1916 the two were married in St. Petersburg. Tadeusz was a lawyer who was well known for his habits as ladies man, but who was enticed by the substantial dowry Tamara offered.

Graziela Art Print

Tadeusz Lempicki Art Print

Kizette in Red

La Communiante Art Print

Mother Superior Art Print

Refugees Art Print

Madonna Art Print

Mother and Child Art Print

Portrait de Madame Allan Bott

Portrait of Grand Duke Gabriel

Still Life with Apples and Lemons

Portrait of the Dutchess de la Salle

Portrait of Madame Boucard

Portrait of Marjorie Ferry

Portrait of Suzy Solidor

During the Russian Revolution in 1917, Tadeusz was arrested in the middle of night by Bolsheviks. Maria searched the prisons for him and with the aide of the Swedish consul, she was able to have him released weeks later. The couple then left for Copenhagen, Denmark and from there to London, England. Finally the pair made it to to Paris, France where Tamara's family had fled in the company of many wealthy Russian refugees.

While n Paris, the Lempickis sold their family gems in order to support themselves. Tadeusz was either reluctant or not able to find appropriate employment, which just increased the already existing household stress, and then Tamara gave birth to a baby girl they named Kizette in 1919. In order to take some pressure off of the family's financial troubles, Tamara decided to educate herself as an artist. She went to the Académie de la Grande Chaumière where she learned under the guidance of Maurice Denis as well as André Lhote. She proved to possess a natural gift coupled with an ambitious personality. These two factors enabled her to advance at an astonishing rate. By 1923 Tamara was exhibiting her art at leading salons and bringing in sufficient funds to start dressing style. She was as well able to lease a studio, buy a car and open a bank account. Tamara was completely taken in by the unconventional artistic life and quickly rose in Parisian high society.

Her personal style in her painting with a distinctly characteristic and bold design quickly matured. Her style has been termed "soft cubism" or "synthetic cubism" and typified the composed yet sultry side of the then fashionable Art Deco movement In Tamara's opinion, Picasso "embodied the novelty of destruction". She believed that several of the Impressionists drew poorly and applied "dirty" colors. She decided that the de Lempicka method would be fresh, clear, accurate, and above all elegant.

Her first leading exhibit was held in Milan, Italy during 1925, with the patronage of Count Emmanuele Castelbarco. For the exhibit Tamara created twenty-eight fresh pieces of work in a short period of six months. Soon she became the most stylish portrait painter of her time with bourgeoisie and gentry, creating portraits of duchesses and grand dukes as well as socialites. With a vast network of of acquaintances, she had been able to show her paintings in the most elite salons of the era. De Lempicka was both criticized as well as looked up to for her 'perverse Ingrism', pertaining to her contemporary restatement of the master Ingres. A portrait could be painted in three weeks, which included the artist's irritation of coping with a petulant sitter; by 1927-8 de Lempicka might charge 50,000 French francs per private portrait.

Soon after, Tamara met Italy's renowned man of letters as well asinfamous lover, Gabriele d'Annunzio. Lempicka went to visit the poet twice at his Lake Garda villa, hoping to gain the commission for painting his portrait; however, Gabriele proved to be just as well bent on conquest. Tamara was not happy with the outcome as she did not gain the commission, but d'Annunzio was dissatisfied with the lack of results in his goals as well.

During 1929, she painted what is considered her most famous work, the iconic Auto-Portrait or Tamara in the Green Bugatti. It had been done for the front cover of the German magazine Die Dame. In 1927, de Lempicka she won her first leading award when she placed first at the Exposition Internationale de Beaux Arts in Bordeaux, France with her picture of Kizette on the Balcony.

Throughout the Roaring 20s Paris, Tamara de Lempicka became engrossed in bohemian society. She knew Pablo Picasso, Jean Cocteau, and André Gide. Renowned for her libido, she was bisexual, and her intimacies with both men and women were carried out in what was considered a brazen manner shocking to the era. She frequently applied formal and story factors in her portraits as well as nude subjects to bring about overwhelming results of want and seduction. During the 1920s she grew intimately connected with lesbian and bisexual women in both the publishing and arts world, including notable characters such as Violet Trefusis, Vita Sackville-West as well asColette. She likewise was implicated with Suzy Solidor, a night club vocalist at Boîte de Nuit. Tamara later painted Suzy's portrait. Her husband gradually wearied of their wedding arrangement; during 1927 he deserted her and their marriage ended in divorce during 1928.

Preoccupied with her art and her social life style, de Lempicka left out not only her husband; she seldom took care her daughter. While Kizette was not absent at boarding school in France or England, the daughter was frequently with her grandmother Malvina. Once de Lempicka told her mother and daughter that she would not be coming back from United States for Christmas during 1929, Malvina became so furious that she destroyed de Lempicka's tremendous accumulation of designer hats; Kizette saw them burn, one after another.

Kizette may have not had Tamara's attention and been left to her own however as well immortalized in paintings. De Lempicka painted her sole child repeatedly, creating a number of portraits of Kizette. They are an outstanding portrait set including Kizette in Pink, Kizette on the Balcony, Kizette Sleeping, Portrait of Baroness Kizette, and so on. In other paintings of Tamara's the women models have a tendency to resemble Kizette.

In the year1928, her patron the Baron Raoul Kuffner called on her studio to commission a painting of his current mistress. De Lempicka completed the picture and promptly went on to assume the mistress' position in the Baron's life. She journeyed to America for the first time in 1929 to create a commissioned picture for Rufus Bush as well as to set up an exhibit of her art at the Carnegie Institute in Pittsburgh. The exhibit was carried out successfully although the profit she made on this trip was forfeit when her bank fell after the Crash of 29.

De Lempicka kept going with both her grueling work load as well as her frenzied social life throughout the following decade. The Great Depression had piddling effect on her; in the beginning of 1930s she began painting King Alfonso XIII of Spain and also Queen Elizabeth of Greece. Museums started to pick up her paintings. In 1933 she went to Chicago where she worked with Georgia O'Keeffe, Santiago Martínez Delgado and also Willem de Kooning. Her social position was finally established when she wed her lover, Baron Kuffner, during 1933 after his wife had passed away a year earlier. The Baron brought her out of her quasi-bohemian life and at last assured her position in high society once more, including a title to boot. She rewarded him by persuading him to sell several of his lands in Eastern Europe and relocate his wealth to Switzerland. She saw the approaching of World War II ahead of time, much earlier than many of her generation. She altered the subjects of her paintings during this period and in her work can be seen refugees and common figures, as well as even a Christian saint or two along with the customary aristocrats and cool nudes.

- Abstract Composition 1957
- Adam & Eve, 1932
- Amethyste 1946
- Andromeda,1927 - 1928
- Arlette Boucard with Arums, Madam Boucard 1931
- Arlette Boucard 1928
- Arums (Study) Circa 1938
- Autoportrait Self-PortraitTamara in the Green Bugatti 1925
- Beautiful Rafaela 1927
- Bibliographie 1940
- Brown Suit Man
- Calla Lily
- Chemise Rose 1933
- Donna con libro
- Duchess de la Salle 1925
- Eune Fille a la Fenetre
- First Communion 1929
- Four Nudes
- Girl In Green
- Girl with Gloves 1929
- Grand Duke Gabriel 1927
- Grapes
- Graziella 1937
- Green Turban
- High Summer 1928
- Irene & her Sister 1925
- Kizette in Pink 1926
- Kizette on the Balcony 1927
- La belle Rafaelo
- La Camicia Rosa
- La Dormeuse
- Lo splendore
- L'ora Blu
- Madam M 1930
- Marchese Sommi
- Mask Plume Cards
- Maternite, 1928
- Mother Superior 1939
- Nana de Herrera
- Nude with Buildings, 1930
- Nude with Sails 1931
- Nudo con Veli
- Orange Turban
- Portrait of Prince Eristof
- Portrait de Madame P.
- Portrait of Majorie Ferry
- Portrait of a Young Lady 1928
- Portrait of Baroness Renata Treves 1925
- Portrait of Miss Poum Rachou 1933
- Portrait of Mrs. Bush 1929
- Portrait of Mrs. Alan Bott 1930
- Portrait of Romana de La Salle, 1928
- Portrait of Tadeusz de Lempicki Portrait of the Artist's Husband, unfinished, 1928
- Quattrocento 1937
- Rafaela in Green
- Reclining Nude 1925
- Rhythm 1924
- Ritratto di Donna
- Seated Nude 1925
- Sharing Secrets 1928
- Sleeping Girl 1930
- Sleeping Woman 1930
- Sleeping Woman 1935
- Spring
- St. Moritz 1929
- Still Life of Fruits and Silk Drape 1949
- Surrealist Landscape
- Suzanne Bathing, 1938
- Suzy Solidor 1933
- The Blue Hour 1931
- The Blue Scarf, 1930
- The Brilliance 1932
- The Convalescent 1930
- The Convalescent 1932
- The Dream 1927
- The Girls 1928
- The Model 1925
- The Gray Turban II 1945
- The Orange Scarf 1927
- The Pink Tunic 1927
- The Refugees 1937
- The Straw Hat 1930
- The Telephone 1930
- The Young Ladies 1927
- The Two Girlfriends 1930
- Three Nudes 1929
- Tunique Rose
- Two Friends
- Two Little Girls with Ribbons 1925
- Two Woman with Cloches 1925
- Woman In Blue With Mandolin 1929
- Woman Lying on the Grass 1926
- Woman with Dove 1931
- Women Bathing
- Woman in Yellow
- Woman In Blue With Mandolin 1928