Portrait of Madame M. - Tamara de Lempicka
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
A 1932 Art Deco portrait by Tamara de Lempicka, featuring a woman in a white silk dress rendered with sculptural precision and dramatic lighting.
Tamara de Lempicka, a central figure of the Art Deco movement, painted this portrait in 1932. The work displays her signature approach to portraiture, which combines the precision of neoclassical form with the geometric simplification found in Cubism. The subject is rendered with a sculptural quality, where the folds of her white silk dress are articulated through sharp, metallic highlights and deep, contrasting shadows. Lempicka utilised a controlled, polished technique that removes visible brushstrokes, creating a surface that appears as smooth as enamel. The composition is structured around strong diagonals and architectural lines, which frame the sitter and direct the viewer's attention to her composed, detached expression. The blue drapery in the background provides a cool, atmospheric counterpoint to the warm tones of the skin, while the play of light across the fabric suggests a high degree of artifice and glamour typical of the interwar period in Paris. This portrait captures the aesthetic sensibilities of the 1930s, where the human form was often treated as an object of design. The sitter's posture, with one hand resting gracefully on her lap and the other positioned near her bodice, conveys a sense of controlled elegance. The lighting is dramatic, creating a stark separation between the illuminated planes of the figure and the darker, more abstract background elements. By synthesising these disparate visual languages, Lempicka created a distinct style that remains recognisable for its fusion of modernism and traditional portraiture.
Return policy
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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.
Portrait of Madame M. - 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
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
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.
You May Also Like