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Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on Panel, 35 X 27 Cm Private Collection

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Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on Panel, 35 X 27 Cm Private Collection Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on panel, 35 x 27 cm Private Collection Designed by: Baseline Co Ltd 19-25 Nguyen Hue Bitexco Building, Floor 11th District 1, Ho Chi Minh City Vietnam © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA © de Lempicka Estate / Artists Rights Society, New York, USA / ADAGP, Paris All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification. ISBN 978-1-78042-030-1 2 It can be argued that the Art Deco spirit expressed itself more naturally through portraiture than through any other kind of painting. The quintessential Art Deco portraitist is undoubtedly Tamara de Lempicka. The Fashionable society of the 1920s and 30s is now perceived very largely through her eyes. — Edward Lucie-Smith 3 Biography 1898 Born Tamara Gurwik-Gorska in Warsaw to wealthy, upper-class Polish parents. Her father, Bolris Gorski, was a lawyer with a French firm. Her mother was Malvina Decler. 1911 A trip to Italy with her grandmother helps Tamara discover her passion for art. 1914 Tamara moves in with her aunt Stephanie in St Petersburg, resenting her mother’s decision to remarry. She meets her future husband, Tadeusz Lempicki, a handsome lawyer from a wealthy Russian family. 1916 Tamara and Tadeusz marry in Petrograd in the chapel of the Knights of Malta. 1917 Russia is engulfed in revolution after the rise of the Bolsheviks and the new regime. 1918 Tadeusz is arrested as a counter-revolutionary. Tamara enlists the help of the Swedish consul to help him escape. They both manage to flee the country and are reunited in Paris, their home for the next 20 years. 1920 Birth of Kizette de Lempicka. Tamara takes classes with Maurice Denis and Andre Lhote. She takes the name Tamara de Lempicka and begins to develop her worldly, modish and erotic style. 1922 She sells her first paintings from the Gallerie Colette Weill, later exhibiting her work for the first time at the Salon d’Automne in Paris. 1925 De Lempicka makes a name for herself with a one woman show at the Bottega di Poesia in Milan and at the world’s first Art Deco exhibition, held in Paris. The German fashion magazine Die Dame commissions one of her most famous paintings, the Self-Portrait in the Green Bugatti. 1926 The great Italian poet and playwright, Gabriele d’Annunzio, makes a failed attempt to seduce de Lempicka at his villa on the Italian coastline. 1927 De Lempicka completes several controversial paintings of her daughter Kizette. She meets the beautiful Rafaela in the Bois de Boulogne who inspires some of her most sensuous and erotic works. 5 6 1928 She begins work on her Boucet family commissions and paints a portrait of her husband Tadeusz before their divorce later in the year. She meets Baron Raoul Kuffner and moves into a spacious apartment in rue Méchain designed by the fashionable modernist architect Robert Mallet-Stevens. 1929 De Lempicka becomes Kuffner’s mistress and makes her first trip to America. 1933 She marries Baron Kuffner. Her work and creativity suffer after the sobering realities of Hitler’s ascension to power in Germany and the Wall Street Crash. She enters a long period of depression. 1939 De Lempicka and Baron Kuffner move to America and settle in Los Angeles after Kuffner sells off most of his Austrian and Hungarian estates. De Lempicka continues to paint and slips easily into the glamorous world of Hollywood high society. 1942 Tired of their life in Hollywood, Kuffner insists they move back to New York. Kizette joins them in America where she meets her husband, Harold Foxhall, a geologist from Texas. 1943 Her new life as a New York socialite detracts from her art. Her figurative paintings and experiments with abstract expressionism fail to attract any interest. Her career begins to stall and she fades slowly into obscurity. 1962 Baron Kuffner dies. A distraught de Lempicka moves in with her daughter and husband in Houston. 1973 A renewed interest in her work leads to a hugely successful retrospective show of her work at the Galerie du Luxembourg. 1974 Her fame restored, she moves in with her daughter in Cuernavaca, Mexico, living the rest of her life marred by her irascibility in her dealings with her family and the rest of the world. 1980 Tamara de Lempicka dies on March 18th leaving instructions for her ashes to be scattered over the crater of the volcano Popocatepetl. 7 amara de Lempicka created some of the most iconic T images of the twentieth century. Her portraits and nudes of the years 1925-1933 grace the dust jackets of more books than the work of any other artist of her time. Publishers understand that in reproduction, these pictures have an extraordinary power to catch the eye and kindle the interest of the public. In recent years, the originals of the images have fetched record sums at Christie’s and Sotheby’s. Beyond the purchasing power of most museums, these paintings have been eagerly collected by film and pop stars. In May 2004, the Royal Academy of Arts in London staged a major show of de Lempicka’s work just one year after she had figured prominently in another big exhibition of Art Deco at the Victoria and Albert museum. 8 9 The public flocked to the show despite a critical reaction of unprecedented hostility towards an artist of such established reputation and market value. In language of moral condemnation hardly used since Hitler’s denunciations of modern art at the Nuremberg rallies and the Nazi-sponsored exhibition of Degenerate Art, the art critic of the Sunday Times, Waldemar Januszczak, fulminated “I had assumed her to be a mannered and shallow peddler of Art Deco banalities. But I was wrong about that. Lempicka was something much worse. She was a successful force for aesthetic decay, a melodramatic corrupter of a great style, a pusher of empty values, a degenerate clown and an essentially worthless artist whose pictures, to our great shame, we have somehow contrived to make absurdly expensive.” Woman Wearing a Shawl, in Profile c. 1922 Oil on canvas, 61 x 46 cm Barry Friedman Ltd, New York 10 11 According to Januszczak, de Lempicka did not arrive in Paris in 1919 as an innocent refugee from the Russian Revolution but on a sinister mission, intending “an assault on human decency and the artistic standards of her time”. One cannot help wondering what it was about de Lempicka’s art that should bring down upon it such hysterical vituperation. There is a clue perhaps in his waspish observation “Luther Vandross collects her, apparently. Madonna. Streisand. That type.” The hostility is perhaps more politically than aesthetically motivated and what really got under the skin of certain critics was the glamorous life style of Tamara’s collectors as well as of her sitters. Bouquet of Hortensias and Lemon c. 1922 Oil on canvas, 55.2 x 45.7 cm Barry Friedman Ltd, New York 12 Both the place and the date of de Lempicka’s birth vary in different accounts. According to some, de Lempicka changed her birth place from Moscow to Warsaw which could be more significant. There has been speculation that de Lempicka was of Jewish origin on her father’s side and that the deception over her place of birth resulted from an attempt to cover this up. Certainly the ability to reinvent oneself time and again in new locations, manifested by de Lempicka throughout her life was a survival mechanism developed by many Jews of her generation. The prescience of the danger of Nazi Germany in a woman not usually politically minded and her desire to leave Europe in 1939 might also suggest that she was part Jewish. The official version was that Tamara Gurwik-Gorska was born in 1898 in Warsaw into a wealthy and upper-class Polish family. The Fortune Teller c. 1922 Oil on canvas, 73 x 59.7 cm Barry Friedman Ltd, New York 14 Following three partitions in the late eighteenth century, the larger part of Poland including Warsaw was absorbed into the Russian Empire. The rising tide of nationalism in the nineteenth century brought successive revolts against Russian rule and increasingly harsh attempts to Russify the Poles and to repress Polish identity. There is little to suggest that Tamara ever identified with the cultural and political aspirations of the Polish people. On the contrary, she seems to have identified with the ruling classes of the Tzarist regime that oppressed Poland. It is telling that in 1918 when she escaped from Bolshevist Russia she chose exile in Paris along with thousands of Russian aristocrats rather than to live in the newly liberated and independent Poland. From what Tamara herself later said, she seems to have enjoyed a happy childhood with her older brother Stanczyk and her younger sister Adrienne. Portrait of a Young Lady in a Blue Dress 1922 Oil on canvas, 63 x 53 cm Barry Friedman Ltd, New York 16 The wilfulness of her temperament, apparent from an early age, was indulged rather than tamed. The commissioning of a portrait of Tamara at the age of twelve turned into an important and revelatory event. “My mother decided to have my portrait done by a famous woman who worked in pastels.
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