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Lempicka art
Tamara de Lempicka (Polish: Tamara Łempicka), 1898-1980, female and was bisexual, Poland-born, was a Polish Art Deco painter and "the first woman artist to be a glamour star".
Lempicka's distinctive and bold artistic style developed quickly, epitomizing the cool yet sensual side of the Art Deco movement.A retrospective of Lempicka art in 1973 drew positive toperfect reviews. At the time of her death, the early Art Deco paintings were being shown and purchased once again. American singer-songwriter and actress Madonna is an admirer and collector of Lempicka paintings.
Lempicka œuvres
Tamara de Lempicka (en polonais : Tamara Łempicka), 1898-1980, est une peintre bisexuelle polonaise représentative du mouvement Art déco et "la première femme artiste d'être une star glamoureuse".
Son style artistique unique et audacieux s'est rapidement développé symbolisant l'aspect calme et sensuel de l'art déco اللوحات الفنية . En 1973, une exposition rétrospective de l'art de Tamara a obtenu une évaluation positive. Au moment de sa mort, ses premières peintures de l'Art déco ont été présentées et achetées une fois de plus. La chanteuse-compositrice-interprète et actrice américaine Madonna est une admiratrice et collectionneuse de l'œuvre de Lempicka.
Lempicka Werke Bilder
Tamara de Lempicka (1898 – 1980) war polnische, bisexuelle art déco Malerin und wird als erster weiblicher Star der Kunst bezeichnet.
Lempicka machte aus ihrer sexuellen Orientierung schnell einen kühnen Stil, der die Kälte, aber auch die Sinnlichkeit der art déco Bewegung verkörpert. Für ihre 1973 durchgeführte Rückschau erhielt sie durchweg gute Kritiken. Während ihrer letzten Tage auf dem Sterbebett wurde Lempickas frühe art déco ausgestellt, die sich rasant verkaufte. Die amerikanische Sängerin und Schauspielerin Madonna ist Bewunderin und Sammlerin ihrer Gemälde Verkaufen.
Lempicka peinture
塔玛拉•德•兰陂卡(英语姓名Tamara de Lempicka),1898-1980,女性,双性恋,波兰的艺术装饰主义(Art Deco)画家,被称为“第一位成为闪耀明星的女性艺术家”。
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Georgous and bold, Tamara de Lempicka was an important figure in the art scene for years, and also an important icon for women. The polish artist was born on May 16th 1898 in Warsaw, and completely took the art world by surprise. She was the leader of the Art Deco style as marc chagall and andy warhol, and was most commonly associated with it and its movement. But what separated her from her fellow artists was the ability to blend in so well with celebrities and Hollywood. Lempicka became not only a fan favorite, but a celebrity favorite and reached elite status quite early. Same with joan miro and rene magritte, her biggest influence and mentor was French painter Jean-Auguste-Dominique Ingres, an artist who thrived mostly during the Neoclassicism movement in toperfect.com reviews & complaints. Both her network and friends were high class, as Lempicka herself was born from wealthy parents. Tamara often gets mistaken for having things easy and not working hard like jack vettriano and edward hopper, which isn’t true in the least. Lempicka famously painted 28 paintings in less than 6 months in preparation for her show which was sponsored by Count Emmanuele Castelbarco, one of the many big name figures at her disposal. Even though she gained a reputation for a lot of risqué paintings, there are a few Lempicka landscape paintings that go away from nudity and show just how supremely talented she really was.
Tamara Lempicka

Analysis of Tamara de Lempicka Paintings

Beautiful and beloved, Tamara de Lempicka had an extraordinary amount of appeal that was shown within and outside of her painting prowess. When it comes to her abstract work as roy lichtenstein, the most well-known piece is none other than ‘Surrealist Hand’, a 1947 project that proved that she was indeed a talented artist and not hype. An abstract masterpiece that is as technically sound as any of the great artists in history, this was a surprise from the then icon. The design is not only innovative, but is pretty enough to be used in several different settings. Among the confusion in the Lempicka oil painting are a lot of well-placed colors and multiple stories with open endings. The only regret with this painting is that it didn’t spawn a series from Tamara.
Another of great Tamara de Lempicka paintings that showed off her skills was ‘Calla Lillies’, the 1941 painting that might have ruffled the feathers of Claude Monet followers. The updated look of Calla Lillies was breathtaking in its own right, and some made comparisons to the stylings of the two artists. While they have completely different techniques, she nails what is considered the moment when it came to the painting talked in toperfect.com reviews. The flowers are perfect, white, long and yet flawed in some way. Tamara never really got around to producing a lot of flower paintings, so the comparisons between the two artists never continued beyond this.
Lempicka Artwork

But what she is most famous for, is also what she became so stereotyped for. Despite showing great artistic skills over the years, the clamor for Lempicka nude paintings and scandalous spin offs are what caught everyone’s attention. The religious oil painting ‘Adam and Eve’ was a very good painting that caught the eyes of many, most likely due to the suggestive pose. In it there is a lot of room for imagination as norman rockwell, as it shows a shy and submissive Eve looking away from a strong and manly Adam, who holds her naked body close to his. It wasn’t an oil painting that sparked outrage, but it sure did get a lot of people talking! Famous oil painters of contemporary art for sale is henri matisse. ‘Nude on a Terrace’ was made in 1925 and was a bold painting for what it was. Using her then trademark strokes on the Lempicka painting, Tamara used a very hard to copy technique when finishing the woman in the painting. It is like a mix between realism and cubism, but only for the figure in the paintings for sale. The way that it comes out almost looks like a live statue, and it is a unique take on a pose that had since been done to death.
Famous Lempicka Painting

List of paintings more famous than Lempicka works are: Melting Clocks, Persistence Of Memory, Dogs Playing Poker.
Understanding that her beauty played into her fame, Tamara also did a self-portrait that would come to be what she was most defined by with Lempicka artworks paintings. ‘Self-Portrait in the Green Bugatti’ showed a powerful and confident artist driving an equally powerful car. Both she and the car were trendy, and it was a perfect match of colors with her eyes telling you everything you needed to know. It’s probably one of the most well done painting portraits in history.

More Information about Tamara de Lempicka Biography

She was born Maria Górska in Warsaw, Congress Poland under the rulership of the Russian Empire, into a wealthy and prominent family. Lempicka was the daughter of Boris Gurwik-Górski, a Russian Jewish attorney for a French trading company, and Malwina Dekler, a Polish socialite who met him at one of the European spas. Maria had two siblings and was the middle child; her older brother was named Stanczyk and her younger sister was named Adrienne. She attended a boarding school in Lausanne, Switzerland, and spent the winter of 1911 with her grandmother in Italy and on the French Riviera, where she was treated to her first taste of the Great Masters of Italian painting such as Mona Lisa, The Last Supper, and Creation of Adam. In 1912, her parents divorced, and Maria went to live with her rich Aunt Stefa in St. Petersburg, Russia. When her mother remarried, she became determined to break away to make a life of her own. In 1913, at the age of fifteen, while attending the opera, Maria spotted the man she became determined to marry. She promoted her campaign through her well-connected uncle, and in 1916 she married Tadeusz Łempicki (1888–1951) in St. Petersburg—a well-known ladies' man, gadabout, and lawyer by title, who was tempted by the significant dowry.

In 1917, during the Russian Revolution, Tadeusz Łempicki was arrested in the dead of night by the Bolsheviks. Maria searched the prisons for him and after several weeks, with the help of the Swedish consul, she secured his release. They traveled to Copenhagen then to London and finally to Paris, enjoyed Manet Olympia and Monet Water Lilies, to where Maria's family had also escaped. Once there, they changed their last names to de Lempicki/ka.

She placed high value on working to produce her own fortune, famously saying ‘There are no miracles, there is only what you make.’ de Lempicka took this personal success and created a hedonistic lifestyle for herself, accompanied by intense love affairs within high society.

Paris and Lempicka painting
In Paris, the Lempickis lived for a while from the sale of family jewels. Tadeusz proved unwilling or unable to find suitable work, which added to the domestic strain, while Maria gave birth to Kizette Lempicka. Her sister, the designer Adrienne Gorska, made furniture for her Paris apartment and studio in the Art Deco style, complete with chrome-plated furniture. The flat at 7 Rue Mechain was built by the architect Robert Mallet-Stevens known for his clean lines.

Lempicka's distinctive and bold artistic style developed at the Académie de la Grand Chaumière under the instruction of Nabi painter, Maurice Denis, as well as the Cubist André Lhote. The young painter was particularly influenced by what Lhote sometimes referred to as "soft cubism" and by the "synthetic cubism" of Denis, neither The Scream nor Starry Night Van Gogh, epitomizing the cool yet sensual side of the Art Deco movement. For her, Picasso "embodied the novelty of destruction". She thought that many of the Impressionists drew badly and employed "dirty" colors. Lempicka's technique would be novel, clean, precise, and elegant.

For her first major show, in Milan, Italy in 1925, under the sponsorship of Count Emmanuele Castelbarco, Lempicka painted 28 new works in six months. A portrait would take three weeks of work as Van Gogh Self Portrait and Rembrandt Night Watch, allowing for the nuisance of dealing with a difficult sitter; by 1927, Lempicka could charge 50,000 French francs for a portrait, a sum equal to about US$2,000 then and more than ten times as much today. Through Castelbarco, she was introduced to Italy's great man of letters and notorious lover, Gabriele d'Annunzio. She visited the poet twice at his villa on Lake Garda, seeking to paint his portrait; he in turn was set on seduction. After her unsuccessful attempts to secure the commission, she went away angry, while d'Annunzio also remained unsatisfied.

In 1925, Lempicka painted her iconic work Autoportrait (Tamara in a Green Bugatti) for the cover of the German fashion magazine Die Dame. As summed up 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 unlike Girl With A Pearl Earring and Las Meninas. Her hands are gloved, she is helmeted, and inaccessible; a cold and disturbing beauty [through which] pierces a formidable being—this woman is free!" In 1927 Lempicka won her first major award, the first prize at the Exposition Internationale des Beaux Arts in Bordeaux, France, for her portrait of Kizette on the Balcony.

In Paris during the Roaring Twenties, Tamara de Lempicka became part of the bohemian life: she knew pablo picasso, Jean Cocteau, and André Gide. Famous for her libido, she was bisexual. Her affairs with both men and women were conducted in ways that were considered scandalous at the time. She often used formal and narrative elements in her portraits, and her nude studies produced overpowering effects of desire and seduction unlike Primavera Botticelli and Liberty Leading the People. In the 1920s she became closely associated with lesbian and bisexual women in writing and artistic circles, such as Violet Trefusis, Vita Sackville-West, and Colette. She also became involved with Suzy Solidor, a night club singer at the Boîte de Nuit, whose portrait she later painted. Her husband eventually tired of their arrangement and abandoned her in 1927. They were divorced in 1931 in Paris.

Lempicka rarely saw her daughter. When Kizette was not away at boarding school (France or England), the girl was often with her grandmother Lavina. When Lempicka informed her mother and daughter that she would not be returning from America for Christmas in 1929, Lavina was so angry that she burned Lempicka's enormous collection of designer hats; Kizette watched them burn, one by one.

Kizette rarely saw her mother, but was immortalized in Lempicka paintings. Lempicka painted her only child repeatedly unlike Picasso Guernica and The Birth of Venus, leaving a striking portrait series: Kizette in Pink, 1926; Kizette on the Balcony, 1927; Kizette Sleeping, 1934; Portrait of Baroness Kizette, 1954–5, etc. In other paintings, the women depicted tend to resemble Kizette. In 1927, she won first prize at the Exposition Internationale des Beaux-Arts in Bordeaux for a painting of her daughter entitled "Kizette on the Balcony". Four years later, she would win a bronze medal at the Exposition Internationale in Poznan, Poland, for another portrait of her daughter, "Kizette's First Communion".

In 1928, her longtime patron the Austro-Hungarian Baron Raoul Kuffner von Diószeg (1886–1961) visited her studio and commissioned her to paint his mistress, Nana de Herrera. Lempicka finished the portrait, then took the mistress's place in the Baron's life. She travelled to the United States for the first time in 1929, to paint a commissioned portrait for Rufus T. Bush and to arrange a show of Lempicka artwork at the Carnegie Institute in Pittsburgh without Van Gogh Sunflowers and Cafe Terrace at Night. The show went well but the money she earned was lost when the bank she used collapsed following the Stock Market Crash of 1929.

Lempicka continued both her heavy workload and her frenetic social life through the next decade. The Great Depression had little effect on her; in the early 1930s she was painting King Alfonso XIII of Spain and Queen Elizabeth of Greece. Museums began to collect Lempicka works after Impression Sunrise. In 1933 she traveled to Chicago where she worked with Georgia O'Keeffe, Santiago Martínez Delgado and Willem de Kooning. Her social position was cemented when she married her lover, Baron Kuffner, on 3 February 1934 in Zurich (his wife had died the year before). The Baron took her out of her quasi-bohemian life and finally secured her place in high society again, with a title to boot. She repaid him by convincing him to sell many of his estates in Eastern Europe and move his money to Switzerland. She saw the coming of World War II from a long way off, much sooner than most of her contemporaries. She did make a few concessions to the changing times as the decade passed; her art featured a few refugees and common people, and even a Christian saint or two, as well as the usual aristocrats and cold nudes.

Later life
In the winter of 1939, Lempicka and her husband started an "extended vacation" in the United States. She immediately arranged for a show of Lempicka work in New York, though the Baron and Baroness chose to settle in Beverly Hills, California, living in the former residence of Hollywood director King Vidor. She cultivated a Garboesque manner. The Baroness would visit the Hollywood stars on their studio sets, such as Tyrone Power, Walter Pidgeon, and George Sanders and they would come to her studio to see her at work. She did war relief work, like many others at the time; and she managed to get Kizette out of Nazi-occupied Paris, via Lisbon, in 1941. Some of Lempicka paintings of this time had a Salvador Dalí quality, as displayed in Key and Hand, 1941. In 1943, the couple relocated to New York City. Even though she continued to live in style, socializing continuously, her popularity as a society painter had diminished greatly. They traveled to Europe frequently to visit fashionable spas and so that the Baron could attend to Hungarian refugee work. For a while, she continued to paint in her trademark style, although her range of subject matter expanded to include still lifes, and even some abstracts. Yet eventually she adopted a new style that's different with Iris Van Gogh, using palette knife instead of brushes. Her new work was not well received when she exhibited in 1962 at the Iolas Gallery. Lempicka determined never to show her work again, and retired from active life as a professional artist.

After Baron Kuffner's death from a heart attack on 3 November 1961 on the ocean liner Liberté en route to New York, she sold most of her possessions and made three around-the-world trips by ship. Finally Lempicka moved to Houston, Texas to be with Kizette and her family. (Kizette had married a man named Harold Foxhall, who was then chief geologist for the Dow Chemical Company; they had two daughters.) There she began her difficult and disagreeable later years. Kizette served as Tamara's business manager, social secretary, and factotum, and suffered under her mother's controlling domination and petulant behavior. Tamara complained that not only were the paints and other artists' materials now inferior to the "old days," but that people in the 1970s lacked the special qualities and "breeding" that inspired her art. It is little surprise, then, that she repainted her iconic "Autoportrait" (1929) twice between 1974 and 1979; "Autoportrait III" was sold, though she hung "Autoportrait II" in her retirement apartments, where it would remain until her death.

In 1978 Tamara moved to Cuernavaca, Mexico, the country of diego rivera and frida kahlo, to live among an aging international set and some of the younger aristocrats. After Kizette's husband died of cancer, she attended her mother for three months until Tamara died in her sleep on March 18, 1980. She was cremated and her ashes were scattered over the volcano of Popocatepetl on 27 March 1980 by her Mexican friend Victor Manuel Contreras and her daughter Kizette. The last painting she painted was the 4th copy of Lempicka painting of St. Anthony.

Lempicka lived long enough for the wheel of fashion to turn a full circle: before she died a new generation had discovered her art and greeted it with enthusiasm. A retrospective in 1973 drew positive reviews. At the time of her death, her early Art Deco paintings as The Kiss Klimt were being shown and purchased once again. A stage play, Tamara, was inspired by her meeting with Gabriele D'Annunzio and was first staged in Toronto; it then ran in Los Angeles for eleven years (1984–1995) at the VFW Post, making it the longest running play in Los Angeles, and some 240 actors were employed over the years. The play was also subsequently produced at the Seventh Regiment Armory in New York City. In 2005, the actress and artist Kara Wilson performed Deco Diva, a one-woman stage play based on Lempicka's life. Her life and her relationship with one of her models is fictionalized in Ellis Avery's novel The Last Nude, which won the American Library Association Stonewall Book Awards Barbara Gittings Literature Award for 2013.

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