Biography tamara de lempicka
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Artist of the Fascist superworld: the life of Tamara de Lempicka
If there is a single image that encapsulates art deco, it is Tamara de Lempicka's self-portrait Tamara in the Green Bugatti. It was commissioned for the cover of the German magazine Die Dame, which defined her as "a symbol of women's liberation". The tight, post-cubist composition of the painting; the muted, sophisticated colour; the sense of speed and glamour; her blonde curl edging out of the head-hugging Hermès helmet; her long leather driving gauntlets; her lubricious red lips. Clearly this is a woman who means business - even to the extent of mowing down a few pedestrians.
Her time was the 1920s: a period of transition, an era in which functionalism merged with fantasy and formal social structures lurched into the frenetic. In essence, De Lempicka was a classicist, having admired Renaissance painting since her adolescent travels in Italy. But she astutely combined traditional portraiture with advertisi
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Summary of Tamara de Lempicka
Tamara de Lempicka was the lone traditional easel painter in the entirety of the Art Deco style. Her sources of inspiration ranged dramatically: she adored Italian Renaissance painting; she was characterized by critics as a sort of modern-day Ingres, although the comparisons were more often not intended to flatter; she absorberad the avant garde art of the era - particularly post-cubist abstraction but of a "softened" style. Perhaps most influential was Lempicka's desire to capitalize on her social connections to create a niche for her portraiture, which most often featured well-to-do, cosmopolitan types. The Art Deco style, lavish in a less visually complex way than its predecessor, Art Nouveau, was probably the ideal vehicle for her trendy style. Most notably, despite its decorative quality, her work provided her with an outlet for unconventional self-expression: truly a product of her era, the libertine golden age between the two world wars, Lempick
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"I live life in the margins of society, and the rules of normal society don't apply to those who live on the fringe. "
– Tamara de Lempicka
Tamara de Lempicka was a highly controversial artist. A bisexual woman was made a refugee twice in her life, first by the Bolsheviks, then later by the Nazis, she was called bourgeois while simultaneously being poor, and a failure of an artist in the midst of her success. A contradiction of a woman, de Lempicka’s work remains iconic all over the world.
Tamara de Lempicka was born in Warsaw, Poland, in 1898 to a wealthy family. Her father was a Jewish man, and her mother was a wealthy Russian woman. When Tamara was sixteen years old, she married Tadeusz Lempicki, who married her for her significant dowry, as he was a poor lawyer who could barely support himself. This was only the beginning of her troubles. In 1917, when the Russian Revolution began, her family fled the country while Tamara and her husband stayed. Within the year, their home wa