At the Opera - Tamara de Lempicka
Archival giclée
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Description
A classic Art Deco portrait by Tamara de Lempicka, featuring a woman in evening dress with the artist's signature sculptural modelling and smooth finish.
Tamara de Lempicka, a central figure of the Art Deco movement, produced this work during her most productive period in Paris. The painting captures a woman in evening attire, seated in a theatre box. Her posture is relaxed, yet her gaze is direct and composed. The composition relies on the sharp, sculptural modelling of the figure, a hallmark of Lempicka's style. She employs a smooth, enamel-like finish that removes visible brushstrokes, creating a polished surface that reflects the glamour of the interwar period.
The subject wears a white dress with ruffled sleeves and long gloves, accessories that define the fashion of the late 1920s. A black choker provides a stark contrast against her skin, drawing attention to the face. Lempicka uses a controlled palette, focusing on the interplay between the white fabric, the dark background, and the warm tones of the skin. The lighting is dramatic, suggesting the artificial glow of a theatre interior, which casts deep shadows and defines the volume of the figure.
Lempicka's approach to portraiture often involved a synthesis of classical techniques and modern sensibilities. She drew inspiration from Renaissance masters, particularly in her use of chiaroscuro, while simultaneously adopting the streamlined aesthetics of the machine age. This work demonstrates her ability to combine traditional portraiture with the stylised, geometric forms associated with Art Deco design. The result is a representation of modern femininity that feels both detached and present. The figure does not interact with the viewer in a conventional sense, but rather occupies her own space with a sense of autonomy. This print captures the precision of the original oil painting, preserving the clarity of the lines and the specific tonal transitions that define Lempicka's technical approach to the human form.
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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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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.
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
At the Opera - 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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