Tamara de Lempicka Brief Biography
Born in Warsaw in 1898, Tamara de Lempicka is one of the most well known artists of the Deco era. She emigrated to Russia and in 1916 married an attorney, Tadeusz Lempicka in St. Petersburg at the age of sixteen. In 1917, during the Russian revolution Tadeusz was arrested by the Bolsheviks but managed to get released with Tamara's aide, immediately the couple fled to Paris.
In Paris Tamara took up painting, enrolling at the Academie de la Grand Chaumiere. She proved to be a prolific painter, primarily portraits, as a result of her simple style. Also in Paris she divorced her attorney husband, marrying Baron Raoul Kaffner in 1933. Raoul and Tamara moved to America the same year under the treat of World War II, traveling to Hollywood and New York, eventually settling in Mexico. While in the States her paintings were exhibited in several galleries including The Paul Reinhart Gallery, Julian Levy's, Milwaukee Institute of Art, and the Courvoisier Galleries.In her later years the volume of Tamara's work was decreasing and by 1960 she had changed to abstract, applying her paints with a spatula. Raoul died in 1962, by which time Tamara had fairly stopped her work all together. Tamara died in Mexico in 1980 in her sleep.
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Tamara de Lempicka Biography
Born Maria Gorska in Warsaw, Poland. Born into a affluent and leading 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 passed the wintertime of 1911 with her grandmother traveling Italy and the French Riviera, where she received to her first experience of the Great Masters of Italian art. In 1912, her parents divorced and Tamara moved to reside with her rich Aunt Stefa in St. Petersberg, Russia. Once her mother remarried, she resolved to have to a life of her own without the influence of her parents. In 1913, at the age of 15, while at an opera house, Tamara spied the man she became resolute to wed. She advanced her crusade through her well affiliated uncle and in 1916 she wedded Tadeusz Lempicki in St. Petersburg. Tadeusz was a well acknowledged ladies man, gadabout, and attorney by trade, who was enticed by the substantial dowry.
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During the Russian Revolution in 1917, Tadeusz was arrested in the middle of night by Bolsheviks. Maria searched the prisons for him and following numerous weeks, including the assistance of the Swedish consul, she guaranteed his freeing. They journeyed to Copenhagen, Denmark and then London, England and at length to Paris, France to that Maria's family had likewise ran away, as well as including several wellborn Russian refugees.
In Paris, the Lempickis existed for a bit out of the selling of family gems. Tadeusz showed to be reluctant or not able to find appropriate employment, which increased the household stress, and she birthed to her daughter Kizette in 1919. To amend the fiscal problems, Tamara chose to educate herself for a vocation as an artist. She went to the Académie de la Grande Chaumière, and learned under Maurice Denis and also André Lhote. She possessed a natural gift and fused with a solid will to win, she advanced with astonishing quickness. By 1923 Tamara was exhibiting her art at leading salons and bringing in sufficient funds to clothe herself in style, lease a studio, buy a car, and open a bank account. Tamara swept herself in the unconventional artistic life as well as rose in Parisian high society.
In Paris, the Lempickis existed for a bit out of the selling of family gems. Tadeusz showed to be reluctant or not able to find appropriate employment, which increased the household stress, and she birthed to her daughter Kizette in 1919. To amend the fiscal problems, Tamara chose to educate herself for a vocation as an artist. She went to the Académie de la Grande Chaumière, and learned under Maurice Denis and also André Lhote. She possessed a natural gift and fused with a solid will to win, she advanced with astonishing quickness. By 1923 Tamara was exhibiting her art at leading salons and bringing in sufficient funds to clothe herself in style, lease a studio, buy a car, and open a bank account. Tamara swept herself in the unconventional artistic life as well as rose in Parisian high society.
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Her characteristic and bold artistic design grew rapidly (molded by that which Lhote occasionally named "soft cubism" as well as by Denis' "synthetic cubism") and typified the composed yet sultry side of the Art Deco trend. In Tamara's opinion, Picasso "embodied the novelty of destruction". She believed that several of the Impressionists drew poorly and applied "dirty" colors. De Lempicka method would be fresh, clear, accurate, and above all elegant.
For her first leading exhibit, in Milan, Italy in 1925, with the patronship of Count Emmanuele Castelbarco, de Lempicka painted twenty-eight fresh pieces of work in six months. She was before long the most stylish portrait painter of her time with bourgeoisie and gentry, creating portraits of duchesses and grand dukes as well as socialites. By Lempicka's web of acquaintances, she was allowed to show her paintings in the best elite salons of their time. De Lempicka was both criticized as well as looked up to for her 'perverse Ingrism', pertaining to her contemporary restatement of the master Ingres, as exhibited in her art Group of Four Nudes, 1925. A portrait could occupy three weeks of art, providing for the irritation of coping with a petulant sitter; by 1927-8 de Lempicka might charge 50,000 French francs per portrayal.by Castelbarco she was brought in to Italy's distinguished man of letters and infamous lover, Gabriele d'Annunzio. Lempicka saw the poet twice at his Lake Garda villa, searching to paint his portrait; he as well was bent on conquest. Following these efforts to fasten the commission, she departed enraged when both she and d'Annunzio stayed dissatisfied.
In 1929, she created her iconic painting Auto-Portrait also called Tamara in the Green Bugatti for the front of the German style magazine Die Dame. As summarized by the magazine Auto-Journal in 1974, "the self-portrait of Tamara de Lempicka is a real image of the independent woman who asserts herself. Her hands are gloved, she is helmetted, and inaccessible; a cold and disturbing beauty [through which] pierces a formidable being--this woman is free!" De Lempicka gained her first leading award in 1927, first place 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 a member of the bohemian spirit: 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 accomplished in manners which were shocking in 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 publishing and arts sets, like Violet Trefusis, Vita Sackville-West, and Colette. She likewise was implicated with Suzy Solidor, a night club vocalist at Boîte de Nuit, who she afterward painted. Her husband gradually wearied of their agreement; he deserted her in 1927, and so they divorced in 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 in 1929, Malvina became so furious that she destroyed de Lempicka's tremendous accumulation of designer hats; Kizette saw them burn, one after another.
Kizette was unattended, however as well eternalized. De Lempicka painted her sole child repeatedly, allowing for a outstanding portrait set: Kizette in Pink, Kizette on the Balcony, Kizette Sleeping, Portrait of Baroness Kizette, , and so on. In additional artwork, the women rendered lean to resemble Kizette.
In 1928, her patron the Baron Raoul Kuffner called on her studio and authorized her for a painting of his current mistress. De Lempicka completed the picture, and 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 successively although the profit she made was forfeit when the bank she employed 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 situation became firm when she wed her lover, Baron Kuffner, in 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 from a farsighted distance, much earlier than many of her generation. She did make a couple of yieldings to the varying era as the decade slipped by; her art had a couple refugees and common figures, as well as even a Christian saint or two, along with the customary aristocrats and cool nudes.
For her first leading exhibit, in Milan, Italy in 1925, with the patronship of Count Emmanuele Castelbarco, de Lempicka painted twenty-eight fresh pieces of work in six months. She was before long the most stylish portrait painter of her time with bourgeoisie and gentry, creating portraits of duchesses and grand dukes as well as socialites. By Lempicka's web of acquaintances, she was allowed to show her paintings in the best elite salons of their time. De Lempicka was both criticized as well as looked up to for her 'perverse Ingrism', pertaining to her contemporary restatement of the master Ingres, as exhibited in her art Group of Four Nudes, 1925. A portrait could occupy three weeks of art, providing for the irritation of coping with a petulant sitter; by 1927-8 de Lempicka might charge 50,000 French francs per portrayal.by Castelbarco she was brought in to Italy's distinguished man of letters and infamous lover, Gabriele d'Annunzio. Lempicka saw the poet twice at his Lake Garda villa, searching to paint his portrait; he as well was bent on conquest. Following these efforts to fasten the commission, she departed enraged when both she and d'Annunzio stayed dissatisfied.
In 1929, she created her iconic painting Auto-Portrait also called Tamara in the Green Bugatti for the front of the German style magazine Die Dame. As summarized by the magazine Auto-Journal in 1974, "the self-portrait of Tamara de Lempicka is a real image of the independent woman who asserts herself. Her hands are gloved, she is helmetted, and inaccessible; a cold and disturbing beauty [through which] pierces a formidable being--this woman is free!" De Lempicka gained her first leading award in 1927, first place 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 a member of the bohemian spirit: 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 accomplished in manners which were shocking in 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 publishing and arts sets, like Violet Trefusis, Vita Sackville-West, and Colette. She likewise was implicated with Suzy Solidor, a night club vocalist at Boîte de Nuit, who she afterward painted. Her husband gradually wearied of their agreement; he deserted her in 1927, and so they divorced in 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 in 1929, Malvina became so furious that she destroyed de Lempicka's tremendous accumulation of designer hats; Kizette saw them burn, one after another.
Kizette was unattended, however as well eternalized. De Lempicka painted her sole child repeatedly, allowing for a outstanding portrait set: Kizette in Pink, Kizette on the Balcony, Kizette Sleeping, Portrait of Baroness Kizette, , and so on. In additional artwork, the women rendered lean to resemble Kizette.
In 1928, her patron the Baron Raoul Kuffner called on her studio and authorized her for a painting of his current mistress. De Lempicka completed the picture, and 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 successively although the profit she made was forfeit when the bank she employed 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 situation became firm when she wed her lover, Baron Kuffner, in 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 from a farsighted distance, much earlier than many of her generation. She did make a couple of yieldings to the varying era as the decade slipped by; her art had a couple refugees and common figures, as well as even a Christian saint or two, along with the customary aristocrats and cool nudes.
Tamara de Lempicka Selected Works
- 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
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