Saint Moritz - Tamara de Lempicka
Archival giclée
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Description
A 1929 portrait by Tamara de Lempicka, capturing a skier in the Alps through the sharp, geometric lens of the Art Deco movement.
Tamara de Lempicka painted Saint Moritz in 1929, during the height of her career in Paris. The work captures the aesthetic of the interwar period, blending the precision of neoclassical portraiture with the streamlined geometry of the Art Deco movement. The subject, a woman dressed for winter sports, occupies the foreground with a sculptural presence. Her pose, gripping a ski pole, is rendered with the smooth, metallic finish characteristic of Lempicka's technique. The composition relies on strong contrasts. The figure wears a high-necked white jumper against a bold red garment, set against a backdrop of stylised, angular snow-covered peaks. Lempicka uses a restricted palette to focus attention on the subject's face, which features the heavy-lidded eyes and defined features common in her portraiture. The light source is deliberate, creating sharp shadows that define the folds of the clothing and the contours of the face. This painting reflects the social milieu of the 1920s, where leisure activities like skiing in the Alps became symbols of status and modernity. Lempicka avoids soft, painterly brushwork in favour of a polished, enamel-like surface. This approach gives the subject a detached, iconic quality. The background is simplified into geometric planes, which pushes the figure forward and creates a sense of depth without relying on traditional atmospheric perspective. The work remains a clear example of how Lempicka adapted the visual language of the machine age to the genre of portraiture, creating images that feel both timeless and specific to the cultural climate of the late 1920s.
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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.
Saint Moritz - 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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