Tamara de Lempicka

Tamara de Lempicka

Tamara de Lempicka

Tamara de Lempicka

Gravot, "Rue Méchain", the studio, with the portrait of Mrs. Boucard, ca. 1930. Silver on gelatine.

Gravot, "Rue Méchain", the studio, with the portrait of Mrs. Boucard, ca. 1930. Silver on gelatine.

Tamara de Lempicka
Marisa de Lempicka and Angustias Freijo

Marisa de Lempicka and Angustias Freijo

Marisa de Lempicka

Marisa de Lempicka

"La Belle Rafaela", 1927. Serigraphy, 1991. 78 x 103 cm.

"La Belle Rafaela", 1927. Serigraphy, 1991. 78 x 103 cm.

"Printeps", 1928. Serigraphy, 1991. 56 x 45,7 cm.

"Printeps", 1928. Serigraphy, 1991. 56 x 45,7 cm.

"Self-Portrait in Green Bugatti", 1929. Lithography. 88.2 x 70.7 cm.

"Self-Portrait in Green Bugatti", 1929. Lithography. 88.2 x 70.7 cm.

"Unfinished Male Portrait" (Tadeusz Lempicki), 1928. Unnumbered lithograph. 78.5 x 58.5 cm.

"Unfinished Male Portrait" (Tadeusz Lempicki), 1928. Unnumbered lithograph. 78.5 x 58.5 cm.

Tamara de Lempicka

Tamara de Lempicka (Poland, 1898 - Mexico, 1980) is an important exponent of Art Deco, the most characteristic movement of the time, marked by the aesthetics of the 20s with its geometric motifs, bright colors and resounding forms: art deco. A classic, symmetrical and rectilinear style that reached its peak between 1925 and 1935, but which has its roots in previous movements such as Cubism and Futurism, as well as in the influence of the Bauhaus. Lempicka was one of its most prominent representatives in the field of plastic arts, for which she proposed a whole revolution. Her main genres are nudes and portraits, and in her work one can appreciate the love of authors such as Ingres, Botticelli or Mannerism.

Her works portray the wealthy bourgeoisie of the time and the progressive decline of the aristocracy. In 1918, fleeing from the political instability of Poland following the military uprising of the Poles against Germany and Russia, Tamara settled in Paris with her husband, Tadeusz Lempicki, where their only daughter, Kizette, was born. They moved to Rue Méchain, to a duplex decorated by her sister, who is an architect. It is she, her sister, who encouraged Tamara to devote herself to painting as a profession. In this way, this Parisian duplex became her house-studio and so she began her path in the world of painting, becoming an internationally recognized woman, independent, protagonist and advanced to her time. This caused her husband to fall into depression and in 1929 they ended up getting divorced. 

Her life served as inspiration for her paintings; her defense of hedonism, orgies, cocaine and bisexuality allowed the artist to illustrate in detail the life of the Parisian bourgeoisie. Based on figurativism and influenced by the Italian Quattrocento, she managed to configure her own style, which today has impregnated the world of advertising and cinema. Already in the early 1920s her works appeared in the salons of Paris, such as the Salon d’Automne and the Salon des Tuileries.

In the summer of 1932, the artist spent a long time in Spain, traveling to Malaga, Seville, Cordoba, Toledo and Madrid, as documented by some ecstatic articles signed by Spanish critics of the moment. Acclaimed as a diva, admired for her art characterized by a clear and refined language, described as an example of beauty and elegance, Tamara de Lempicka always underlined her interest in El Greco and Goya, whom she studied diligently in long sessions in Spanish museums.

In 2009 an exhibition of Tamara de Lempicka took place at the Museo Palacio de Bellas Artes in Mexico, curated by Freijo and Alain Blondel.

In 2018 Freijo Gallery presents a round table and holds a solo exhibition in the LZ46 space, under the title Living from Art. The Baroness with a Paintbrush

Wikipedia