Group of Four Nudes - Tamara de Lempicka
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Description
A classic Art Deco composition by Tamara de Lempicka, featuring four figures rendered with sculptural precision and smooth, metallic tones.
Tamara de Lempicka, a central figure of the Art Deco movement, produced this work during her most active period in 1920s Paris. The painting displays her signature approach to the human form, characterised by sculptural volume, smooth surfaces, and a precise, almost metallic finish. The composition arranges four female figures in a tight, interlocking cluster, creating a sense of physical density that fills the frame.
Lempicka employs a palette of warm, flesh-toned hues contrasted against cooler, shadowed areas. Her technique involves a controlled application of paint that minimises visible brushwork, allowing for the clean, geometric contours that define her aesthetic. The figures possess the stylised features common to her portraiture, including heavy-lidded eyes, defined lips, and structured hair, which reflect the fashion and beauty standards of the interwar era.
This work demonstrates the influence of both neoclassical tradition and modern cubist simplification. By reducing the anatomy to rounded, simplified shapes, Lempicka creates a sense of weight and presence. The lack of a defined background forces the viewer to focus entirely on the physical interaction and the interplay of light across the skin. The painting captures the glamour and the precise, machine-age sensibility that defined the Parisian avant-garde during the 1920s. It remains a clear example of her ability to merge classical subject matter with a distinctly modern, graphic sensibility.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Group of Four Nudes - Tamara de Lempicka
Artist Biography
Tamara De Lempicka
In December 1917, the Cheka arrested her husband Tadeusz Lempicki in the night, suspected of connections to the Tsar's secret police. She searched the prisons for him and reportedly secured his release by offering favours to the Swedish consul. They fled through Copenhagen and London to Paris. She initially signed her paintings Lempitzky, the masculine form of the name, to be taken more seriously. Critics praised the work, thinking a man had made it.
She moved in the lesbian and bisexual salons of 1920s Paris, a circle that included Vita Sackville-West and Colette. Her female portraits carry both the painter's gaze and the lover's. Perspective (The Two Girlfriends), shown at the 1923 Salon d'Automne, was among the earliest. Her style blended a late, polished Cubism with neoclassical form, influenced by Ingres but drenched in the glamour and geometry of Art Deco.
In 1929, she painted herself for the cover of the German fashion magazine Die Dame: Autoportrait (Tamara in a Green Bugatti). The car in the painting was a Bugatti. Her actual car was a yellow Renault.
She divorced Tadeusz in 1928 and married Baron Raoul Kuffner, an Austro-Hungarian art collector. They moved to America in 1939 to escape the war. She became a favourite of the Hollywood set. After the war, her work drifted into obscurity. The Art Deco revival brought her back: a 1972 retrospective at the Galerie du Luxembourg restored her reputation. A stage play called Tamara ran in Los Angeles for eleven years, from 1984 to 1995, the longest-running play in the city's history. Madonna became a major collector. She died in 1980.
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