5 Things to Know about Art Deco Painter Tamara de Lempicka
By Magnolia Molcan, interim associate director of digital content
September 12, 2024
Tamara de Lempicka was the embodiment of the modern woman and a revolutionary painter — she was also a survivor. She had to pack up her life and flee twice in her lifetime, first to France during the Russian Revolution and then to America before the start of World War II. But it was these experiences that shaped the woman she would become: bold, independent, and a true original. Here are 5 things to know about this innovative artist and Hollywood favorite.
1. She helped define the Art Deco movement
Tamara de Lempicka (1894–1980), Portrait of Ira P., 1930. Oil on panel, 39 3/8 x 25 9/16 in. (100 x 65 cm). Private Collection. © 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY © 1998 Christie’s Images Limited
Tamara de Lempicka started her art career studying under French Cubist painter André Lhote, but she quickly surpassed her teacher. By 1922, she had already developed her own style. The term “Art Deco” comes from 1925’s International Exposition of Decorative and Industrial Arts in Paris, which caused a revolution in furniture, fashion, illustration, and architecture across the United States and Europe. Lempicka’s work embodied this new style — characterized by bold lines and geometric, angular shapes. However, while she created memorable magazine covers for Die Dame, she always identified as a painter, not a decorative artist.
2. She signed her first paintings with a male surname
Tamara de Lempicka, Leaning Nude I, 1925. Oil on canvas, 31 7/8 x 21 3/8 in. (80.063 x 54.293 cm). Private Collection, Europe ©️ 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY. Artepics / Alamy Stock Photo
When she first came on the art scene in Paris in the early 1920s, Lempicka signed her paintings Lempitzky, the male version of her last name. This was, in part, to be taken seriously in a male-dominated field — some critics praised her nudes and still lifes, thinking they had been created by a man, “Monsieur” Lempitzky. However, it was also a reflection of her self-identity. Lempicka was bisexual, and her signature reflected her fluid identity. This fluidity can also be seen in her paintings. While male painters focused on women as objects, Lempicka’s women had agency and power. In the In the Leaning Nude I, 1925, the subject isn’t on display for the male gaze, but is absorbed in her own pleasure. Lempicka’s portraits of men display a similar sexuality and androgeny.
3. She was a model of the “modern woman”
Thérèse Bonney (1894–1978), Tamara de Lempicka working on the portrait “Nana de Herrera,” ca. 1929. Gelatin silver print, 5 1/2 x 6 15/16 in. (14 x 17.6 cm). © The Regents of the University of California, The Bancroft Library, University of California, Berkeley. Source: Ville de Paris / Bibliothèque historique 4C-EPF-006-00701
In the 1920s, women experienced a greater degree of societal access and economic freedom. Hair was shorter, dresses were looser, and women could control their own money. In 1929, Vogue announced the arrival of the modern woman: “She seeks purity in line, in contour, hair, and clothes. She knows that, in the drama of her own personality, she must be stage director, scene-shifter, mistress of costumes, as well as star of the play.” Lempicka exemplified this “modern woman” in both her persona and art. Encouraged from a young age by her grandmother telling her she was exceptional and could do whatever she wanted, that’s exactly what she did. She was strong and independent, even acting as her own manager and negotiating prices for her work. She gave this same power to the women in her portraits, painting larger-than-life figures standing tall against towering skyscrapers.
4. She used family and friends as her subjects
Tamara de Lempicka (1894–1980), Portrait of a Man (Tadeusz Łempicki) or Unfinished Portrait of a Man, 1928. Oil on canvas, 51 x 31 7/8 in. (129.5 x 81 cm). Centre Pompidou, Paris. Musée national d'art moderne / Centre de création industrielle. © 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY. Digital Image © CNAC/MNAM, Dist. RMN-Grand Palais / Art Resource, NY
In part because she had less access as a woman in the art world, and in part because they were easily available subjects, Lempicka often painted her friends and family, particularly early in her career. An early favorite was her daughter, Kizette. She also often painted her romantic partners, both lovers and husbands. She painted her first husband, Tadeusz Łempicki, just before their divorce. In the portrait, his left hand, where a wedding ring would be, appears unfinished. This was another turning point in Lempicka’s life. While Tadeusz wanted to return to a more conservative lifestyle, she was enjoying the newfound freedom Paris and the art world had opened up for her, and nothing was going to stop her.
5. She’s a favorite of Hollywood to this day
Tamara de Lempicka and Salvador Dalí, Julien Levy Gallery, New York, Paderewski Testimonial Day, April 18, 1941. ©️ 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY. akg-images / fine-art-images
While Lempicka had some early success, she was often overlooked by critics and art historians. But she was always appreciated by artists and creatives. Lempicka’s cool, glossy style was a perfect match for Hollywood’s glitz and glamour. Early on, she was collected by artists, actresses, movie directors, fashion designers, and others in the arts. When her artwork was rediscovered in the 1970s, Hollywood stars, including Barbra Streisand and Jack Nicholson, were among her biggest collectors. Her work continues to influence pop culture into the present day, from Madonna’s Open Your Heart (1986) and Vogue (1990) videos to the Giorgio Armani Privé Fall/Winter 2022–2023 Collection.
Text adapted from research by Furio Rinaldi, curator in charge, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, and Gioia Mori, professor of contemporary art history, Accademia di Belle Arti.