Tamara De Lempicka - Women Bathing (1929)

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Green often represents illicit love and temptation - in Tamara Lempicka’s Young Lady with Gloves, the emerald dress heightens the power of her sexuality by clinging tightly to her body, and with her red hair, she looks like the women in absinthe posters

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After a rather intensive few weeks, I shall be taking time out today and mainly snoozing. Back in the game tomorrow 👩‍🎨

‘Sleeping Girl’ Tamara de Lempicka

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Tamara de Lempicka
Grupo dos Quatro Nus, 1925, Óleo sobre tela.

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Acuérdate de mí si llegan ‘la indolencia, el hastío, el total abandono… Quédate en mis heridas, cúrame la tristeza.
No podré regalarte las flores de la duda
Solo poseo un verso torpemente rimado
Un pasado perdido, una fruta madura’ https://t.co/ZZNQpnw3FM

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«la educación es semejante a preparar una maleta para un largo viaje. El éxito de dicho viaje depende de lo que eliges guardar y lo que escoges dejar, de la elección juiciosa de los enseres que te permitirán viajar con confort y que no supondrán un obstáculo»Tamara de Lempicka

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Tamara De Lempicka - Women Bathing (1929)

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Tamara de Lempicka, Suzy Solidor / l’Esclave mourant de Michel-Ange in "Pionnières. Artistes dans le Paris des Années folles" https://t.co/ZqUVCrEN9l ⬇️

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Tamara de Lempicka - Le baiser (The Kiss), 1922

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Tali •Soliloquy Of Eve•

Featured in October, former model, and daughter of Annie Lennox, Tali Lennox paints beautiful scenes that bring DeLempicka to my mind.

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LE BLEU CHEZ TAMARA DE LEMPICKA.

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LE ROUGE CHEZ TAMARA DE LEMPICKA.

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Tamara de Lempicka, born Tamara Rozalia Gurwik-Górska (Polish painter) 1898 - 1980
Autoportrait (Tamara in a Green Bugatti), 1929
oil on pane
Tap Alt

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Di origini polacche visse in Russia,viaggiò in Europa e si stabilì negli USA.
A Parigi iniziò a dipingere negli anni ’20 con successo immediato.Creò uno stile originale dando plasticità alle forme esaltate da luce e colori brillanti.
Tamara de Lempicka”Ragazza con i guanti”1928

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Tamara de Lempicka, En Plein Eté, 1928.

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/TRACES # 3/
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Despite attempts to change her style, imitate surreal landscapes or expressive abstractions, her career declined. After Kuffner's death in 1962, she moved to Houston. Her new works were not well received and the she gave up exhibiting her works.

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/TRACES # 3/
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The indicator of the third stage of her painting was the putty knife, a tool not used in art before Impressionism. Łempicka started to create paintings in beige or brown shades. These were paintings with blurred outlines and unpretentious themes.

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/TRACES # 3/
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The American press did not take it seriously, focusing mainly on the history it created around itself. At that time, she undertook numerous experiments, including with geometric abstraction, it was, however, a minor episode in her work.

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The value of Lempicka's work was the ability to transfer observations of the surrounding world to the language of painting she developed. Her portraits make up gallery of contemporary types, heroes of the artist's life, and social and cultural elite.

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