Artist Ahead of Her Time: Tamara De Lempicka
Translated from:
Some artworks leave viewers wondering:
“How does an artist create this during their generation?”
Tamara De Lempicka (1898–1980) was one of those artists.
Short slicked hair, flapper dress, heels, with a cigarette in hand.
The 1920s female characters from the film “Great Gatsby” portray the kind of women she was.
Lempicka, who was of Polish decent, first introduced her works in 1922 Paris during the period of modernization post WWI. Lempicka’s paintings left viewers in shock to say the least. There was no hesitation expressing sexuality, her progressive female figures completely destroying the image of the old obedient women in France at the time. The new type of boyish woman, the Garçon was also on the scene. This granted Lempicka the recognition as an artist who was ahead of her era.
“I live life in the margins of society, and the rules of normal society don’t apply to those who live on the fringe.” — Lempicka
An Icon
Her rebellion is expressed in works such as “Self Portrait in the Green Bugatti” (1929). Up until this moment, it had been rare to sight women drive freely, let alone a Bugatti, on the streets of France. Roles began to shift as a society when those who fought in the war returned home, and women began taking on new jobs that didn’t exist prior.
The artist’s intention to insert herself alongside a Bugatti, a symbol of economic success, was not simply touching on shifting roles in society. Rather, the self portrait carries aspects of her ambition and rebellion as a woman who had a vision beyond her generation.
“I build my cars to go, not to stop.” — Ettore Bugatti
In comparison to the Bugatti, Lempicka’s life was nothing short of an adventure. From her appearance, publicized bisexuality, and affairs with partners.
Lempicka’s relationship with her first husband, Tadeusz Lempicka lasted from 1916 to 1928. Their marriage was called off before the portrait could be completed, hence the missing left hand where his wedding ring had been.
Their then 11-year-old daughter, Kizette is shown unlike the many other portraits of young girls painted during this time. Her expressionless face, loose and shapeless figure placed beside the outside world that appears hostile. This work ultimately won Lempicka first place at the 1927 International Art Exhibition.
Despite the crowd’s opinion, Lempicka did not stop creating works that were unapologetically progressive and just as explicit. During a period where nudes were still considered scandalous, she would cast models off the streets and paint them.
Relationship With Artists
Lempicka’s relationship with many fashion designers and other artists enhanced over the course of her artistic career.
Different from many of the clothes that were designed and produced at the time to show off a woman’s figure, Lempicka’s women wore baggy clothes. Major fashion houses of the world, such as Chanel’s creative director Karl Lagerfeld, and Louis Vuitton’s designer Marc Jacobs were among the many inspired by her works.
Pop icon Madonna is also known to be a Lempicka collector as well. One of her figures were featured in Madonna’s music video “Open Your Heart”.
Inspired by Picasso’s style of Cubism, she later adapted her version of Soft Cubism/Art Deco that is immediately recognizable as a Lempicka painting.
“My goal is never to copy, but to create a new style, clear luminous colours and feel the elegance of the models.” — Lempicka
A Fatal Mistake Leads To Unfortunate Ending
Shortly after WWII breaks out, Lempicka packs up her life in France and relocates to the US with her second husband.
During the 1950s when abstract works took over the art scene, she decides to abandon her own style of Art Deco, expanding her subject matter to include still lifes. The responses were ultimately bad. In the postwar years, Lempicka had fewer commissions for society portraits.
Perhaps if she hadn’t modified her artistry and adapted to the trend, one can wonder what kind of impression her works would leave viewers now.
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