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I've always loved Tamara di Lempicka's fanciful self portrait in a Bugatti. This is the nearest I'm going to be allowed to a racing car too I suspect...
We're Here: Trains, Planes and Automobiles
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Toy Lotus courtesy of Mr A
"At the Opera" 1941
oil on canvas
by Tamara de Lempicka
"Patently artificial and walking the line beween Mannerism and kitsch, the painting was a personal favorite of Andy Warhol, who lost a bidding war for the canvas in 1980 to German fashion designer Wolfgang Joop, one of Lempicka's most passionate collectors."
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
“La Belle Rafaela,” created by the Polish artist Tamara de Lempicka in 1927, is an oil painting on canvas that belongs to the Art Deco movement. This is one of Lempicka's most remarkable compositions.
The artwork portrays a reclining nude woman, absorbed in her own erotic pleasures and typical of Art Deco. The composition is dominated by the voluptuous and carefully contoured form of the subject, a sex worker whom the artist met in the Bois de Boulogne park in Paris and one of her lovers. The use of cool, smoothed tones and the juxtaposition of light and shadow conveys a sense of elegance and modernity, replete with the refined aesthetic that defines Lempicka’s work.
Seen and photographed at the exhibit "Tamara de Lempicka" at de Young Fine Arts Museum (FAMSF) in San Francisco, California.
The year is 1929 and Art Deco Is all the rage in both the U. S. and Europe. Our Hollywood producer’s penthouse is the setting for what was evidently the seduction of yet another young “Hollywood Hopeful”, recently arrived in Tinsel Town and dreaming of stardom. No sooner had he offered her a part in his next picture, then she began shedding her clothes.
Art Deco flourished in the 1920s and 1930s. However, everything came to a screeching halt with the Great Depression, followed by World War II. Today some of this county’s best Art Deco is found in our old movie theaters with New York’s Radio City Music Hall being a prime example.
A glance at what the producer’s reading gives us a clue as to what he might be optioning for his next project. In 1929 some bestselling books were Eric de Remarque’s “All Quiet on the Western Front”, Edna Ferber’s “Cimarron”, William Faulkner’s “The Sound and the Fury”, Thomas Wolfe’s “Look Homeward Angel” and Ernest Hemingway’s “A Farewell to Arms”. All but “Look Homeward Angel” became films, although it wasn’t until 1955 that Twentieth Century Fox released “The Sound and the Fury”, a film bearing little resemblance to the novel.
SUPPLIERS:
Room box: Earth and Tree
Exterior paint: Ralph Lauren Suede (Almond Willow)
Wall & molding paint Glidden: custom mix
Ceiling paint: Benjamin Moore: Cameo White
Railing: Jim Cooper: custom-made
Scene of LA street at night: AllPosters
Baseboard & Crown Molding: MBO from Northeastern
French Doors: Northeastern
Door:handles: HBS
Marble floor: E-Zee-Tile
Rug: A Touch of Fancy: custom-made
Dog: Unknown
Shoes: Doll Cobbler
Dress, slip and gloves: Miss Amelia’s, Canary Islands:
custom-made
Plume grass in vase: Barb & J.
Fireplace: Dolls House Emporium, UK
Fire screen: Houseworks
Framed Painting Tamara di Lempicka’s “Eleanor and Her Sister” MBO
Black/white bowl: RJT Miniatures, Canada
Swiss mantle clock: Peter Tucker, Canada: custom-made
Sofa: Warren Richardson
Evening bag: N-2 Miniature Club
Pillow: Alco
Chair: Warren Richardson
Coffee table: Alice Zinn
Champagne bucket/glasses/ bottle: Unknown
Shelf: Spotlight Miniatures
Telephone: Spotlight Miniatures
Cigarette lighter: Unknown
Ashtray Ruth Mazur:
“Variety’: Unknown
“Los Angeles Times”: Unknown
See’s candy: SpotlightMiniatures
Books (5): Miniature Bookshelf
Liquor cabinet: Gloria Kent
Art Deco tray: Spotlight Miniatures
Glasses: Unknown
Box of Ritz crackers: MBO
Tin of Planter’s Peanuts:A Mini Marvel, UK
Baby grand piano: Unknown
Manhattan: Chico's Our Little Mini Club
Glass vase: Spotlight Miniatures
Calla lilies: Shirley Tague, Era Pearce
Silver frame: Don Henry,Canada
Wall sconces: Peter Tucker,Canada: custom-made
Wiring: Jim Cooper
Electrical supplies: Cir-Kit
MBO = Made by Owner
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Tamara da Lempicka’s study of female nudes were strongly influenced by the figure style of her teacher, French cubist painter André Lhote (1885-1962). Datable to around 1923, this painting may have been drawn from a posed model in Lhote’s studio on the rue de Départ in Paris.
Tamara de Lempicka (1894-1980), was a Polish artist who spent her working life in France and the United States. She is best known for her polished Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes. She is widely known as the artist who defined the Art Deco movement in painting.
Seen and photographed at the exhibit "Tamara de Lempicka" at de Young Fine Arts Museum (FAMSF) in San Francisco, California.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
The painting over the fireplace, titled “Eleanor and Her Sister”, is by Tamara di Lempica, a popular Art Deco artist best known for her portraits of sexy women in stylish outfits. Di Lempicka’s story was the subject of a stage play that ran two years in Los Angeles before opening Off-Broadway and later a one-woman show.
She was born in 1898 to a wealthy and prominent Polish couple. Her father was a lawyer; her mother, a socialite. Maria (her given name) attended Swiss boarding school and spent the 1911 winter with her grandmother on the French Riviera and in Italy, where she got her first exposure to the paintings of the Old Masters.
Following her parents’s divorce Maria was sent to live with a wealthy aunt in St. Petersburg, Russia. At the age of fifteen, while attending the opera, she spotted a man she set her cap to marry. Three years later they were wed. Tadeusz di Lempicka was a notorious ladies man, who was swayed by her large dowry.
In 1917 during the Russian Revolution, Tadeusz was arrested by the Bolsheviks. Maria searched the prisons for him, finally securing his release. The couple traveled to Copenhagen, London and finally Paris, where they lived off the sale of her family jewels. It was there she gave birth to her only child, a daughter named Kizette.
Very quickly Tamara’s dramatic style developed, following her exposure to what is sometimes called “soft cubism”. Whereas di Lempica believed many of the Impressionists drew badly and used “dirty” colors, by contrast her own work was clean and elegant.
For her first major show in Milan in 1925 di Lempicka painted 28 new works in six months. She was soon the most popular portrait painter of her generation, charging the equivalent in today’s dollars of $20,000 per painting. In 1929 she completed what is probably her best-known work -- Tamara in the green Bugatti – a self-portrait for the cover of a German magazine.
During the Roaring Twenties in Paris, Tamara was leading a wild Bohemian life, hanging out with Picasso, Cocteau and Gide. Famous for her libido, she was bisexual; her affairs with both men and women were considered scandalous even by today’s standards. Soon her husband, tired of their relationship, abandoned her and their young child; the next year they divorced.
Obsessed with her work and social life. Tamara neglected more than her husband; she rarely saw her daughter. Kizette lived with her grandmother when she wasn’t away at boarding school. In 1929 when di Lempicka wrote her mother and daughter she wouldn’t be returning from America for Christmas, Malvina was so angry she burned her daughter’s enormous collection of designer hats, as Kizette stood by cheering.
Although Kizette was ignored, she was also immortalized because her mother repeatedly used her as a model. It’s said that in other paintings, many subjects tended to look like the pretty blonde girl.
In 1928 her long-time patron, the Baron Raoul Kuffner, visited her studio to commission a portrait of his lover. She finished the project, then replaced his mistress in the Belgian’s life.
During her first visit to the U. S. she had a very successful show in Pittsburgh, but lost the proceeds when the banks collapsed. In reality, the Depression had little effect on her. By the early Thirties she and the Baron had settled in Beverly Hills, where her work was in great demand by film stars and nobility -- even kings and queens -- all wishing to be captured on canvas by her paintbrush. Museums began to collect her work.
She did war relief work like so many other immigrants. And somehow managed to get Kizette out of Nazi-occupied Paris via Lisbon. By ’43 the couple had relocated to New York City. Although she continued to live in style, socializing continuously, her popularity as a society painter had started to wane.
After Kuffner’s death from a heart attack in 1962, Tamara sold most of her possessions and made three around-the-world cruises. Finally, she settled in Houston to be near Kizette.
Her daughter, who tried serving as Tamara’s business manager and social secretary, suffered under her mother’s controlling domination and childish behavior. In 1978 De Lempicka moved to Cuernavaca, Mexico, to live among a colony of aging international jetsetters and faded aristocrats. To be said in Kizette’s defense, in 1980 she cared for her mother for three months until the artist died in her sleep.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
I’ve always been an admirer of the art of Tamara de Lempicka… and Miss Theo gave me a splendid opportunity to imitate Lempicka’s style, when she appeared in a perfect Thirties-Cinema Noir outfit at the opening of her last exhibition. A wonderful texture by Willa Chauveau was „the” ultimate detail I needed for this one. I trust you don’t mind having been paparazzoed by a microscopic cat, Theo. ;-)
Please go and see the mesmerizing avatar self-portraits (not entirely without a touch of Lempicka herself…) of Theoretical Afterthought here: slurl.com/secondlife/Nordan%20om%20Jorden/45/79/36
If you’re interested in Tamara de Lempicka, click here: www.delempicka.org/bottom/home.html
Her most famous painting is a self-portrait ("Tamara in a Green Bugatti"): bertc.com/g10/lempicka8.htm
The texture is by Willa Chauveau: www.flickr.com/photos/willa_chauveau/5809830411/in/set-72...
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Green gowns: Tamara de Lempicka’s painted Jeune Fille en Vert & costume designer Jacqueline Durran’s slinky satin worn by Keira Knightley in Atonement. My ruched organza sallies sunny-side up – fanciness contrasts with oversized knit cardi. Some tourists in Central Park took their photo with me because they liked my festive frock… Fashionshesays.com.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Hommage to [Stelka].
Digital Fake of Tamara De Lempicka's Self Portrait : Tamara In The Green Bugatti".
[Stelka]'s starting images :
www.flickr.com/photos/15699351@N00/53505133/in/set-1131945/ (main)
www.flickr.com/photos/15699351@N00/62329201/in/set-1131945/ (hair)
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Yes, I know Mel Odom made her after his fabulous illustrations. She reminds me some of the famous Lempicka's women too ...
This is my Paintbook version of Tamara de Lempicka's "Two Girls"
before changing it with Vihgo and DXP.
A little project I am working on with my friend Andrea. We are both fans of Tamara De Lempicka's work. So we decided to each do a self portrait in the style or inspired by the style of Tamara De Lempicka. Here is my self portrait piece. I have put it aside and may change it later, fixing my arm and hair but for now this is how it is. Next we will be painting each other's portrait in the same style.
To see Tamara De Lempicka's gorgeous works visit www.delempicka.org/bottom/home.html
‘The Girls’ 1930 by Tamara de Lempicka, Warsaw 1898-Cuernavaca 1980 at Palacio de Gavira
The picture represents one of Lempicka’s famous ‘Sapphic duos,’ to girls with ringlets wrapped in a shawl and depicted against an iconic modern urban backdrop, the New York skyline that had made such a deep impression on Lempicka when she arrived in the city in 1929. This was exhibited in 1932 at a group exhibition at Galerie Fauvety in Paris along with works by Picasso, Marie Laurencin, Fujita and Kisling.
Tamara Łempicka (born Tamara Rosa Hurwitz (1898-1980)), also known as Tamara de Lempicka, was a Polish artist active in the 1920s and 1930s, who spent her working life in France and the United States. She is best known for her Art-Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes.
“The Communicant” was painted by de Lempicka in 1928, utilizing oil on canvas. The portrait falls within the Art Deco movement. It portrays a young girl in a white ceremonial dress, possibly alluding to a First Communion ritual, characterized by the traditional white head covering, robe, and folded hands, emphasizing innocence and devotion. The girl’s hands are clasped in prayer, symbolizing piety and spiritual dedication. An open book in the lower left is suggestive of religious texts, further enhancing the sacred atmosphere of the piece. The calm and introspective expression on the girl’s face exemplifies Lempicka’s unique blend of realism and stylized aesthetic typical of the Art Deco movement.
Seen and photographed at the exhibit "Tamara de Lempicka" at de Young Fine Arts Museum (FAMSF) in San Francisco, California.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Acryl on paper (1994)
My Interpretation of Tamara de Lempicka´s
Portrait of Suzy Solidor
from 1933
(oil on wood 46x38cm
Cagnes, Chateau-Musee)
M18Jul2011-11.30met,Rotterdam
The main sketch shows "Printemps/Spring", a painting by Tamara Lempicka. It was copied from a thumbnail in my German catalog of replicas for sale.
The small sketch shows two wet nurses for the goddess Folly. It was copied from a drawing by Hans Holbein in the margin of Erasmus' book, "Praise of Folly".
bad poetry/doggerel round the edge
"Two women" are the key words of this card.
Lempicka's girls in stylish painting starred.
Two kind wet nurses were young Folly's guard.
White flow'rs in hand, us show the name of "Spring".
Two women painted in the age of Swing.
Bright eyes, red lips, curled hair, smooth skin, take wing.
Erasmus' goddess Folly, grew up well.
Dad Plutus, mum Neotes her befell.
Apaedia, Methe - milk their breasts did swell.
PS Sorry a bit blurred
I'm sooo sooo happy I've finally reached Lémpicka's character, because since i've her, there wasn't much connection and most of the time she's been for sale, buuut I decided to give her an opportunity and work on her new make up, buy some eyes and made clothes for her. Anyway I was afraid of not getting the connection at all, which has happen to me a lot before... But now there she is! My little girl, Lémpicka Rose.
Lémpicka is not human neither a monster, and nobody exactly knows what is she but this girl has some old memories, which are from her past life, but she doesn't know at all in which she can remember things in some kind of “déjà vu”.
I haven't decides yet, but I think she will be the daughter of a wolf or some mythological creature... The only thing that is completely stated is her name, Lémpicka Rose.
‘Saint Theresa of Avila’ 1930 by Tamara de Lempicka, Warsaw 1898-Cuernavaca 1980 at Palacio de Gavira
Lempicka’s inspiration for this work is Bernini’s Ecstasy of Saint Teresa (1647-1652) at the church of Santa Maria della Vittoria.In her version, the glacial white marble face has been transformed into a face in the throes of sensual ecstasy. The veils in different shades of grey reinforce the flesh and rosy pink lips parted in a sigh of abandon to emphasize the more erotic side of the mystical experience.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Div William's latest house, at The Sydney Show: an interpretation of Tamar de Lempicka's studio on Rue Mechain circa 1930.
Capturing the gloom of World War II, this painting by Polish artist Tamara de Lempicka bears the title 'Somewhere in Europe' led to Lempicka's 1941 exhibitions in New York City, San Francisco and, Los Angeles. It was a gesture of solidarity with Europeans at war.
Tamara de Lempicka (1894-1980) spent her working life in France and the United States. She is best known for her Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes. She is widely known as the artist who defined the Art Deco movement in painting.
Seen and photographed at the artists first major retrospective exhibition of her works in the US at de Young Fine Arts Museum (FAMSF) in San Francisco, California.
This artwork, titled “The Mother Superior,” was created by Polish artist Tamara de Lempicka (1894-1980) in 1935. It depicts an elderly Catholic nun, clad in traditional black and white religious habit. Her facial expression is deeply somber, with a single tear trailing down her cheek, reflecting a profound sense of sorrow or contemplation. The realism in her wrinkled skin and soft shadows highlights de Lempicka’s meticulous technique. The composition, marked by sharp lines and geometric forms, embodies the distinctive characteristics of the Art Deco style. De Lempicka’s portrayal of the nun (whom she met at a small Catholic convent in Italy during the tumultuous period of the late 1930's) combines emotional depth with stylistic elegance, creating a powerful and evocative image.
Seen and photographed at the exhibit "Tamara de Lempicka" at de Young Fine Arts Museum (FAMSF) in San Francisco, California.
This dates to around 1924, and may show one of Lempicka's residences in Paris during her early, struggling years there.
This 1925 work shows Irene and Romana Ludmila Dekler, Lempicka's cousins who fled Russia after the October Revolution before settling in Paris in 1921. Lempicka claimed that this painting was the start of the Art Deco movement.