Adam and Eve - Tamara de Lempicka
Archival giclée
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Description
A 1931 oil painting by Tamara de Lempicka, featuring two figures rendered with the sculptural precision and geometric clarity of the Art Deco style.
Tamara de Lempicka painted Adam and Eve in 1931, a period when her work reached its stylistic maturity. The composition features two figures rendered with the sculptural precision characteristic of her approach. She employs a palette of warm, skin-toned hues contrasted against the sharp, geometric shadows that define the forms of the bodies. The figures possess a metallic sheen, a common trait in her portraiture, which suggests a synthesis of classical anatomy and industrial modernity. The background incorporates architectural elements that evoke the urban environment of the early twentieth century. These structures provide a rigid, angular frame for the organic curves of the human subjects. Lempicka avoids soft transitions, preferring instead to model the musculature with clear, defined planes. This technique creates a sense of volume and weight, drawing the viewer's eye to the interplay of light and shadow across the skin. In this interpretation of the biblical narrative, the artist strips away traditional iconography, focusing instead on the physical presence of the subjects. Eve holds the apple with a deliberate, almost detached gesture, while Adam leans into her space. The interaction between the two is marked by a cool, detached composure rather than emotional warmth. This work captures the aesthetic sensibilities of the interwar period, where the machine age influenced the depiction of the human form. The smooth surfaces and precise lines reflect the artist's interest in the clarity of form, a hallmark of her contribution to the Art Deco movement. By placing these figures within a modern, skyscraper-like setting, she recontextualises a timeless subject within the framework of contemporary life.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
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.
Adam and Eve - Tamara de Lempicka
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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