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Stylistic development
 
After 1934, Lempicka's mystical crisis was complicated by deep depression. The artist lost nothing of her talent, but her production slowed down considerably. Only religious subjects could find favor with her, inspiring a series of resigned and tear-streaked Madonna portraits. By 1937, Lempicka had recaptured a certain serenity; she began depicting persons of humble birth, peasant men and women, in painstaking detail. At the time, she underwent a temporary conversion embracing the sort of ethical values that were worlds apart from the worldly vanities revered in her usual circles.

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spacerPortrait of a Man
Portrait of a Man
spacerMadagascan Girls I
Madagascan Girls I
spacerMadagascan Girls II
Madagascan Girls II
spacerAfrican Man I
African Man I
spacerAfrican Man II
African Man II
spacer
spacerNorth African Man
North African Man
spacerArum Flower
Arum Flower
spacerMother and Child
Mother and Child
spacerFace of a Woman
Face of a Woman
spacerMale Figure
Male Figure
spacer
spacerHand Study
Hand Study
spacerStudy after...
Study after...
spacerStudy after...
Study after...
spacerStudy after...
Study after...
spacerStudy after...
Study after...
spacer
spacerDiana the Huntress
Diana the Huntress
spacerPortrait of a Man
Portrait of a Man
spacerPortrait of a Woman
Portrait of a Woman
spacerPortrait of a Woman
Portrait of a Woman
spacerPortrait of a Woman at the Opera
Portrait of a Woman at the Opera
spacer
spacerStylish Woman with Flower Hat
Stylish Woman with Flower Hat
spacerFlora I
Flora I
spacerFlora II
Flora II
spacerYoung Tahitian Girl
Young Tahitian Girl
spacerStudy for
Study for "Suzanne Bathing"
spacer
spacerStudy for
Study for "The Blond Child"
spacerA Rose
A Rose
spacerFace Study
Face Study
spacerPortrait of Alphonse XIII
Portrait of Alphonse XIII
spacerMadonina
Madonina
spacer
spacerThe Breton Girl
The Breton Girl
spacerThe Blue Virgin
The Blue Virgin
spacerVirgin with the Tear
Virgin with the Tear
spacerThe Mother Superior
The Mother Superior
spacerBeggar with Mandolin
Beggar with Mandolin
spacer
spacerPortrait of Gino Puglisi in His Youth
Portrait of Gino Puglisi in His Youth
spacerSaint Anthony
Saint Anthony
spacerBefore the Storm
Before the Storm
spacerSaint John the Baptist
Saint John the Baptist
spacerQuattrocento
Quattrocento
spacer
spacerGraziella
Graziella
spacerCopy of the Sibylla Libica by Michelangelo
Copy of the Sibylla Libica by Michelangelo
spacerThe Peasant Man
The Peasant Man
spacerPeasant Girl with Pitcher
Peasant Girl with Pitcher
spacerThe Peasant Girl
The Peasant Girl
spacer
spacerPeasant Girl Praying
Peasant Girl Praying
spacerMadonna
Madonna
spacerInnocence
Innocence
spacerClaudia
Claudia
spacerSuzanne Bathing
Suzanne Bathing
spacer
spacerStill Life with Arums and Mirror
Still Life with Arums and Mirror
spacerArums (study)
Arums (study)
spacerCut Flowers in Vases (four panels)
Cut Flowers in Vases (four panels)
spacerA Rose
A Rose
spacerRoses
Roses
spacer
spacerPortrait of a Little Girl I
Portrait of a Little Girl I
spacerThe Blond Child
The Blond Child
spacer
spacer
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  • Portrait of a Man
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    Portrait of a Man

    A.153
    circa1934
    Crayon on paper
    21,8 x 23,6 cm (8 5/8 x 9 1/4 in) 
    Lempicka (artist's stamp bottom right)
    (Portrait d'homme)
  • Madagascan Girls I
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    Madagascan Girls I

    A.154
    circa1934
    Crayon on paper
    32,4 x 24,8 cm (12 3/4 x 9 3/4 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Jeunes filles malgaches I)
    Auctions
    26/02/1993 - NEW YORK. Sotheby's Arcade “1423”, # 60 $ 2 100
    21/06/1988 - PARIS. Briest, # 142 $ 3 330
  • Madagascan Girls II
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    Madagascan Girls II

    A.155
    circa1934
    Crayon on paper
    25 x 16 cm (9 7/8 x 6 1/4 in) 
    T.DE LEMPICKA (artist's stamp bottom left)
    (Jeunes filles malgaches II)
    Auctions
    21/06/1988 - PARIS. Briest, # 155 $ 3 000
  • African Man I
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    African Man I

    A.156
    circa1934
    Crayon on paper
    23,7 x 15,6 cm (9 3/8 x 6 1/8 in) 
    (Africain I)
  • African Man II
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    African Man II

    A.157
    circa1934
    Crayon on paper
    23,7 x 15,6 cm (9 3/8 x 6 1/8 in) 
    (Africain II)
  • North African Man
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    North African Man

    A.158
    circa1934
    Crayon on paper
    23,7 x 15,6 cm (9 3/8 x 6 1/8 in) 
    (Homme d'Afrique du nord)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Arum Flower
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    Arum Flower

    A.159
    circa1934
    Conté pencil on paper
    30,5 x 45,7 cm (12 x 18 in) 
    Lempicka (bottom)
    (Fleur d'arum)
    Collections
    1980 - Private collection - U.S.A.
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
  • Mother and Child
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    Mother and Child

    A.160
    circa1934
    Crayon on paper
    27 x 18 cm (10 5/8 x 7 1/8 in) 
    Lempicka (bottom right)
    (Mère et enfant)
    Collections
    1995 - Private collection - Italy
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • Face of a Woman
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    Face of a Woman

    A.161
    circa1934
    Crayon on paper
    18 x 27 cm (7 1/8 x 10 5/8 in) 
    T.DE LEMPICKA (artist's stamp bottom left)
    (Visage de femme)
    Auctions
    21/06/1988 - PARIS. Briest, # 147 $ 2 830
  • Male Figure
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    Male Figure

    A.162
    circa1934
    Crayon on paper
    27,1 x 18,1 cm (10 5/8 x 7 1/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Figure d'homme)
  • Hand Study
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    Hand Study

    A.163
    circa1935
    Crayon on paper
    21,7 x 13,7 cm (8 1/2 x 5 3/8 in) 
    (Etude de main)
    Collections
    1995 - Private collection - Italy
  • Study after...
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    Study after...

    A.164
    circa1935
    Crayon on paper
    14,7 x 11 cm (5 3/4 x 4 3/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Etude d'après...)
    Collections
    1972 - Private collection - France
  • Study after...
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    Study after...

    A.165
    circa1935
    Crayon on paper
    27 x 18 cm (10 5/8 x 7 1/8 in) 
    Lempicka (bottom left)
    (Etude d'après…)
    Collections
    1980 - Private collection - U.S.A.
  • Study after...
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    Study after...

    A.166
    circa1935
    Crayon on paper
    27 x 18 cm (10 5/8 x 7 1/8 in) 
    Lempicka (bottom left)
    (Etude d'après…)
    Collections
    1980 - Private collection - U.S.A.
  • Study after...
    enlarge

    Study after...

    A.167
    circa1935
    Crayon on paper
    13,5 x 10 cm (5 3/8 x 3 7/8 in) 
    LEMPICKA (artist's stamp bottom right)
    (Etude d'après...)
    Collections
    1972 - Private collection - France
  • Diana the Huntress
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    Diana the Huntress

    A.168
    circa1935
    Crayon on paper
    13,5 x 10 cm (5 3/8 x 3 7/8 in) 
    (Diane chasseresse)
    Collections
    1972 - Private collection - France
  • Portrait of a Man
    enlarge

    Portrait of a Man

    A.169
    circa1935
    Crayon on paper
    45,7 x 33,3 cm (18 x 13 1/8 in) 
    Lempicka. (bottom right)
    (Portrait d’homme)
    Auctions
    05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 124 $ 850
  • Portrait of a Woman
    enlarge

    Portrait of a Woman

    A.170
    circa1937
    Crayon on paper
    28 x 21,6 cm (11 x 8 1/2 in) 
    Lempicka (bottom left)
    (Portrait de femme)
    Auctions
    10/11/1992 - NEW YORK. Christie's East “Beat-7363”, # 53 $ 1 900
  • Portrait of a Woman
    enlarge

    Portrait of a Woman

    A.171
    circa1937
    Crayon on paper
    38 x 27,7 cm (15 x 10 7/8 in) 
    Lempicka / Paris 1923 (bottom right)
    (Portrait de femme)
    A drawing very reminiscent of Maryette Lydis's technique. It has obviously been backdated.
    Auctions
    10/11/1992 - NEW YORK. Christie's East “Beat-7363”, # 52 $ 1 900
  • Portrait of a Woman at the Opera
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    Portrait of a Woman at the Opera

    A.172
    1937
    Crayon on paper
    13,7 x 27,3 cm (5 3/8 x 10 3/4 in) 
    Lempicka Paris 1937 (top right)
    (Portrait d’une femme à l'opéra)
    This drawing prefigures the painting "At the Opera" (B.222).
    Collections
    1937 - Purchased directly by Mr. George Costaki - Greece
    Auctions
    24/03/1983 - LONDON. Sotheby's PB. “Cagnes”, # 359 $ 1 050
  • Stylish Woman with Flower Hat
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    Stylish Woman with Flower Hat

    A.173
    1937
    Watercolor on paper
    31,4 x 24,1 cm (12 3/8 x 9 1/2 in) 
    Lempicka/Paris 1937 (bottom right)
    (Elégante au chapeau fleuri)
    Collections
    1988 - Private collection - Greece
    Auctions
    12/05/1988 - NEW YORK. Christie's “Bataille-6598”, # 155 $ 30 000
    05/12/1988 - PARIS. Cornette de St C. , # 69 $ 8 350
  • Flora I
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    Flora I

    A.174
    circa1937
    Watercolor on paper
    37,5 x 28 cm (14 3/4 x 11 in) 
    Lempicka 1933. (bottom right)
    (Flore I)
    The date - added later, together with the artist's signature - is uncertain.
  • Flora II
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    Flora II

    A.175
    circa1937
    Watercolor on paper
    33 x 25 cm (13 x 9 7/8 in) 
    Lempicka (bottom right)
    (Flore II)
    Auctions
    14/02/1991 - NEW YORK. Christie's “Beth-7218”, # 63 $ 0
  • Young Tahitian Girl
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    Young Tahitian Girl

    A.176
    circa1938
    Crayon on paper
    24,1 x 19,1 cm (9 1/2 x 7 1/2 in) 
    Lempicka (bottom right)
    (Jeune tahitienne)
    Auctions
    07/06/1991 - PARIS. Lenormand, Dayen, # 13 $ 6 900
    22/11/1989 - PARIS. Ader, # 93 $ 8 600
  • Study for
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    Study for "Suzanne Bathing"

    A.177
    circa1938
    Crayon on paper
    27 x 20 cm (10 5/8 x 7 7/8 in) 
    (Etude pour "Suzanne au bain")
    See B.207.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Study for
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    Study for "The Blond Child"

    A.178
    circa1938
    Conté pencil on paper
    (Etude pour "l'enfant blonde")
    See B.214.
  • A Rose
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    A Rose

    A.179
    circa1938
    Crayon on paper
    25 x 36 cm (9 7/8 x 14 1/8 in) 
    Lempicka (bottom right)
    (Une rose)
    Preliminary drawing for a painting by the same name. See B.211.
    Auctions
    22/11/1989 - PARIS. Ader, # 94 $ 0
    24/01/1990 - PARIS. Loudmer, # 186 $ 0
  • Face Study
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    Face Study

    A.180
    circa1938
    Crayon on paper
    25 x 16,5 cm (9 7/8 x 6 1/2 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Etude de visage)
    Auctions
    05/05/1986 - PARIS. Renaud, # 25 $ 2 700
  • Portrait of Alphonse XIII
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    Portrait of Alphonse XIII

    B.186
    1934
    Oil on canvas
    (Portrait d'Alphonse XIII)
    In biographies of Lempicka, this work is often mentioned. In a letter to Gino Puglisi, on September 9, 1934, the artist herself wrote: "For one week now, I have been in Salsommagiore, where I am doing the portrait of His Majesty, the King of Spain." An unidentified work.
    Collections
    1934 - Collection of Alfonso XIII - Spain
    History
    The King ALPHONSE XIII, Client: Lempicka's portrait of this king, done at the start of 1934 (according to a letter sent to her friend Puglisi), is mentioned several times, including in the 1939 catalogue of the Paul Reinhardt Gallery in New York. Sadly, no trace of this work has been found at the Zarzuela Palace near Madrid. Kizette de Lempicka's biography of her mother informs us that this monarch was a very talkative person. Apparently, while doing his portrait, Lempicka asked him to kindly keep quiet during the sitting session.
  • Madonina
    enlarge

    Madonina

    B.187
    circa1934
    Oil on copper
    18 x 12,8 cm (7 1/8 x 5 in) 
    T.DE LEMPICKA. (trace bottom left)
    (Madonina *)
    This precious icon was painted on a small copper plate.
    Collections
    1943 - Purchased directly by Mr. Daniel Sikles - France
    1997 - Barry Friedman Ltd. - U.S.A.
    1998 - Private collection - U.S.A.
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • The Breton Girl
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    The Breton Girl

    B.188
    1934
    Oil on wood panel
    31 x 29 cm (12 1/4 x 11 3/8 in) 
    DE LEMPICKA. (top left)
    (La Bretonne *)
    Following in the wake of the two Polish girls, here is a Breton. Soon to come would be the "peasant men", "peasant girls", and "old men", along with the rustic simplicity of pitchers, bowls and square linen pieces. Times were changing, and Lempicka was inspired to turn to traditional values.
    Collections
    1934 - Purchased directly by Mr. Gino Puglisi - Italy
    1992 - Private collection -
    Exhibitions
    1934 - Salon des Tuileries 1934, Paris, France
  • The Blue Virgin
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    The Blue Virgin

    B.189
    1934
    Oil on wood panel
    20 x 13,5 cm (7 7/8 x 5 3/8 in) 
    T.L. (bottom right)
    (La vierge bleue *)
    Lempicka's pathetic letters at this time, written to her friend Gino Puglisi, reveal deep depression rendering her less and less able to paint. Only religious subjects still seemed meaningful in the face of her mental distress.
    Collections
    1934 - Purchased directly by Mr. Gino Puglisi - Italy
    1992 - Private collection -
    1994 - Private collection - Italy
    Exhibitions
    1934 - Salon des Tuileries 1934, Paris, France
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    Auctions
    19/04/1994 - ROME. Finarte, "892", # 174 $ 60 400
  • Virgin with the Tear
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    Virgin with the Tear

    B.190
    1935
    Oil on wood panel
    (Vierge à la larme)
    Collections
    1935 - Unknown collection -
    Exhibitions
    1935 - Salon des Femmes Artistes Modernes 1935, FAM, Paris, France
    1938 - Salon des Tuileries 1938, Paris, France
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • The Mother Superior
    enlarge

    The Mother Superior

    B.191
    1935
    Oil on canvas on cardboard
    30 x 20 cm (11 3/4 x 7 7/8 in) 
    LEMPICKA. (bottom left) 1935 (on the back of the canvas)
    (La Mère supérieure *)
    The two tears in this work were judged severely by the critics, upon the occasion of a travelling show organized in California by the Julian Levy Gallery. Done at a critical point in Lempicka's life, this painting - reminiscent of Rogier Van der Weyden - is unabashedly anachronistic.
    Collections
    1976 - Musée des Beaux-Arts de Nantes - France
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1957 - Galerie Sagittarius, "Tamara de Lempicka", Rome, Italy
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    1935, Chronology: De Lempicka fell into a lengthy spell of depression. During a trip to Tuscany she decided to retire to a convent, engaging the Mother Superior in long discussions. She did not put her plan into action, but painted a tragic portrait of the nun. She wrote sorrowful letters to her faithful confident, Gino Puglisi, a handsome Italian airman.
    The MOTHER SUPERIOR, Portrait retained by Lempicka: Lempicka went through hard times in the mid-thirties: in depression and anxiously aware that her reference points were dissolving, she underwent several major moral crises. At such times, she called all her certainties into question. It was in this frame of mind that, during a stay at a convent in Italy, she encountered a nun who made a powerful impression on her: "...I could read all the suffering in the world on her face, a face so terrible to contemplate, so sad, that I dashed out." She later turned this recollection into a moving portrait.
  • Beggar with Mandolin
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    Beggar with Mandolin

    B.192
    1935
    Oil on canvas
    67 x 51 cm (26 3/8 x 20 1/8 in) 
    (Mendiant à la mandoline *)
    The elegant mandolin featured as instrument here, together with the gesture being accomplished (and even, who knows, the note being played?), are the same as those that captivated us in "The Musician", painted by the Lempicka six years before. The lapse of time between the two was enough to transform the sylphlike young lady of the first, into this old man bent with years.
    Collections
    1976 - Musée départemental de l'Oise, Beauvais - France
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1939 - Carnegie Institute 1939, "38th International Exhibition of Paintings", Pittsburgh, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
  • Portrait of Gino Puglisi in His Youth
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    Portrait of Gino Puglisi in His Youth

    B.193
    1935
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    (Portrait de Gino Puglisi jeune)
    A portrait of her trusty confidant, in nuanced gradations of gray. Lempicka shoves to the foreground the wedding band on the ring finger of the subject's beautiful hand: indeed, life is not simple!
    Collections
    1935 - Purchased directly by Mr. Gino Puglisi - Italy
    1992 - Private collection -
    History
    1935, Chronology: De Lempicka fell into a lengthy spell of depression. During a trip to Tuscany she decided to retire to a convent, engaging the Mother Superior in long discussions. She did not put her plan into action, but painted a tragic portrait of the nun. She wrote sorrowful letters to her faithful confident, Gino Puglisi, a handsome Italian airman.
    Gino PUGLISI, Family or close friend: Gino Puglisi was born in 1898, the same year as Lempicka; he died in Rome in 1992. Lempicka and Puglisi met in 1933, and the latter remained the artist's most faithful friend to the day of her death. He was a pilot who lived in Sicily (Catane), where he is said to have directed an art gallery. He moved to Rome in 1950. Besides works by Tamara de Lempicka, he also collected pieces by Maryette Lydis, Madeleine Luka, and Marie Laurencin.
  • Saint Anthony
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    Saint Anthony

    B.194
    1936
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    LEMPICKA. (bottom left)
    (Saint Antoine *)
    Lempicka must have venerated Saint Anthony rather specially, for she produced three replicas of this painting. At the time of her death, in Cuernavaca, the last circa ion was still on her easel. In fact, the portrait depicts her psychiatrist at the Zurich clinic where she was treated for depression (cf. Repertory).
    Collections
    1939 - Purchased directly by Mrs. Iliana Bulova - U.S.A.
    1982 - Barry Friedman Ltd. - U.S.A.
    1989 - Private collection - U.S.A.
    Exhibitions
    1938 - Salon des Tuileries 1938, Paris, France
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    History
    Lempicka's PSYCHIATRIST, Biography, Psychology: There was a staff psychiatrist at the thermal spa of Bircher-Binner in Zurich, where Lempicka frequently stayed starting in 1934. Strangely enough, Lempicka's portrait of him resembles Saint Anthony (see Passion by Design, The Art and times of Tamara de Lempicka, op. cit. p.125). She would subsequently make several copies of this portrait, as if obsessed by this ascetic figure.
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    1936, Chronology: As her mental state deteriorated De Lempicka retreated for frequent spells to a clinic in Switzerland. She managed to disguise a portrait of the psychiatrist dealing with her case as St Anthony of Puada. Her frail mental state had no deleterious effect on her beauty and powers of seduction, as a series of portraits by the Milanese Camuzzi photographer shows.
    Auctions
    05/10/1989 - NEW YORK. Christie's “Peter-6908”, # 109 $ 19 000
  • Before the Storm
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    Before the Storm

    B.195
    1936
    Oil on canvas on cardboard
    19 x 27 cm (7 1/2 x 10 5/8 in) 
    (Avant l'orage *)
    Did Lempicka have forebodings - already in 1936 - that she would once again endure exile?
    Collections
    1986 - Private collection - U.S.A.
    History
    The obsession with EXILE, Biography, Psychology: Exile remained a lifelong obsession with Lempicka. It comes through in several of her paintings: "The Refugees" (B.158), 1931; "Before the Storm" (B.195), 1936; and "Flight" (B.220), 1940. The artist actually experienced two radical breaks in her life: the first when she left Bolshevik Russia in dramatic circumstances in 1918; and the second (better prepared!) in 1939, when she left for the United States.
  • Saint John the Baptist
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    Saint John the Baptist

    B.196
    1936
    Oil on cardboard
    35 x 30 cm (13 3/4 x 11 3/4 in) 
    LEMPICKA. (top left)
    (Saint Jean Baptiste *)
    Lempicka depicts the head impaled on a pike, although it usually is presented on a tray. Can we be sure this is indeed John the Baptist? The question stands, for this tragic figure is in many ways comparable to the beheading of Holofernes by Judith, such as portrayed by Artemisia Gentileschi, a 17th-century woman-painter, whose biography must have impressed Lempicka.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
    Exhibitions
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • Quattrocento
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    Quattrocento

    B.197
    1937
    Oil on canvas
    55 x 46 cm (21 5/8 x 18 1/8 in) 
    LEMPICKA. (bottom left)
    (Quattrocento *)
    Much of the inspiration for this composition came from Botticelli's "St. John and Jesus".
    Collections
    1937 - Purchased directly by Mr. Chistoni - Italy
    1980 - Private collection - France
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    Auctions
    25/05/1980 - MONACO. Sotheby's, # 130 $ 5 000
  • Graziella
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    Graziella

    B.198
    circa1937
    Oil on wood panel
    35 x 24 cm (13 3/4 x 9 1/2 in) 
    LEMPICKA. (pencilled top right)
    (Graziella *)
    An odd thing about Lempicka's models is that their eyes never look down at the books they hold.
    Collections
    1976 - Musée des Beaux-Arts du Havre - France
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
  • Copy of the Sibylla Libica by Michelangelo
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    Copy of the Sibylla Libica by Michelangelo

    B.199
    circa1937
    Oil on wood panel
    30 x 25 cm (11 3/4 x 9 7/8 in) 
    (Copie de la Sibylla Libica de Michel-Ange)
    Collections
    1950 - Purchased directly by Mr. Gino Puglisi - Italy
    1992 - Private collection -
  • The Peasant Man
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    The Peasant Man

    B.200
    circa1937
    Oil on canvas on cardboard
    40 x 28,5 cm (15 3/4 x 11 1/4 in) 
    LEMPICKA. (top left)
    (Le paysan)
    It is quite possible that, during this troubled period searching for new values, Lempicka joined others in the belief that "the good earth never lies!"
    Collections
    1938 - Purchased directly by Mr. and Mrs. W.Die - U.S.A.
    1988 - Private collection - U.S.A.
    1989 - Private collection - France
    Exhibitions
    1938 - Salon des Tuileries 1938, Paris, France
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    Auctions
    28/06/1988 - LONDON. Christie's “Model-3863", # 258 $ 27 000
    14/05/1989 - LE TOUQUET. Pillon, Palais de l’ Europe, # 112 $ 39 100
  • Peasant Girl with Pitcher
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    Peasant Girl with Pitcher

    B.201
    circa1937
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    T.DE LEMPICKA. (top right)
    (Paysanne à la cruche *)
    A young peasant girl, her hair gathered under a simple scarf, gracefully lifts a pitcher to study its neck. The artist resorted to this theme in an attempt to escape the anxieties of her time.
    Collections
    1937 - Purchased directly by Mr. and Mrs. W.Die - U.S.A.
    1996 - Private collection - U.S.A.
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
  • The Peasant Girl
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    The Peasant Girl

    B.202
    circa1937
    Oil on canvas
    40,6 x 30,5 cm (16 x 12 in) 
    (La paysanne *)
    The poncho this young "peasant girl" wears evokes Mexico: a country that fascinated Lempicka, and where she decided to spend her last years (See Doc.66).
    Collections
    1980 - Lempicka Estate - U.S.A.
    1998 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
  • Peasant Girl Praying
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    Peasant Girl Praying

    B.203
    circa1937
    Oil on canvas
    25 x 15 cm (9 7/8 x 5 7/8 in) 
    (Paysanne en prière *)
    A more explicit rendering of "The Polish Girl", for which the artist's daughter Kizette had posed. Of the two photographs of this painting, taken by Marc Vaux, each shows a different lock of hair.
    Collections
    1938 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1985 - Barry Friedman Ltd. - U.S.A.
    1988 - Private collection - U.S.A.
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    Auctions
    22/06/1983 - NEW YORK. Sotheby's "5701", # 31 $ 6 000
    11/05/1988 - NEW YORK. Sotheby's “5709-Trovatore”, # 386 $ 52 500
  • Madonna
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    Madonna

    B.204
    circa1937
    Oil on wood panel
    33 x 33 cm (13 x 13 in) 
    (Madone *)
    This painting existed in a first circa ion, as can be seen from a photograph by Marc Vaux. The artist's inspiration for this work can be traced to Michelangelos's study for "St. Anne and the Virgin Mary", at the Louvre.
    Collections
    1976 - Musée départemental de l'Oise, Beauvais - France
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • Innocence
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    Innocence

    B.205
    1937
    Oil on canvas
    27 x 24 cm (10 5/8 x 9 1/2 in) 
    T.LEMPICKA. (on the back of the canvas)
    (L'Innocence *)
    The face, hairdo, and ribbon necklace hark directly back to various sketches by Watteau. But the result Lempicka achieved perfectly embodies her era's photographic bent.
    Collections
    1937 - Purchased directly by Mr. & Mrs. Marcie- - France
    1980 - Private collection - Argentina
    Exhibitions
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
  • Claudia
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    Claudia

    B.206
    circa1938
    (Claudia *)
    An unidentified work.
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
  • Suzanne Bathing
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    Suzanne Bathing

    B.207
    circa1938
    Oil on canvas
    90 x 60 cm (35 3/8 x 23 5/8 in) 
    DE LEMPICKA. (bottom right)
    (Suzanne au bain *)
    In 1938, Lempicka seemed at last to have prevailed over her depression. She began producing abundantly, and was, moreover, spurred on by an upcoming show in New York. She intended this work as one of the highlights of her show at the Paul Reinhardt Gallery, scheduled for the beginning of May, 1939.
    Collections
    1990 - Private collection - Italy
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Still Life with Arums and Mirror
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    Still Life with Arums and Mirror

    B.208
    circa1938
    Oil on canvas
    65 x 50 cm (25 5/8 x 19 5/8 in) 
    LEMPICKA. (pencilled top right)
    (Nature morte aux arums et au miroir)
    If Lempicka ever swore her loyalty to anything in life, it would be to these flowers. Here, they are made to convey an unmistakably clear message of loving tenderness. The mauve coloring may have been added later, over an originally black background. The work's French format (15 P) suggests that this painting was done before Lempicka left for the States.
    Collections
    1976 - Musée National d'Art Moderne - Paris
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
  • Arums (study)
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    Arums (study)

    B.209
    circa1938
    Oil on canvas
    41 x 33 cm (16 1/8 x 13 in) 
    T.DE LEMPICKA. (artist's stamp top right)
    (Arums, étude)
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
  • Cut Flowers in Vases (four panels)
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    Cut Flowers in Vases (four panels)

    B.210
    1938
    Oil on canvas
    60,5 x 21 cm (23 7/8 x 8 1/4 in) 
    LEMPICKA. (bottom right, each)
    measurements of each canvas (Fleurs coupées dans des vases, quatre peintures)
    Magnolias, tuberoses, roses, and lilies: these four flower portraits were intended as a set.
    Collections
    1980 - Lempicka Estate - U.S.A.
    1981 - Barry Friedman Ltd. - U.S.A.
  • A Rose
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    A Rose

    B.211
    circa1938
    Oil on canvas on cardboard
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    LEMPICKA. (bottom right)
    (Une rose)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Roses
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    Roses

    B.212
    circa1938
    Oil on canvas on cardboard
    27 x 22 cm (10 5/8 x 8 5/8 in) 
    LEMPICKA (bottom right)
    (Roses)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Portrait of a Little Girl I
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    Portrait of a Little Girl I

    B.213
    1938
    Oil on canvas
    T.L.38 (bottom right)
    (Portrait de petite fille I)
    Collections
    1938 - Unknown collection -
  • The Blond Child
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    The Blond Child

    B.214
    circa1938
    Oil on canvas
    32 x 25,5 cm (12 5/8 x 10 in) 
    Lempicka / Paris 1924 (pencilled bottom right)
    (L'enfant blonde)
    The child's snapshot-quality pose and the "natural" light in this painting bring to mind work done after a photograph, in a sort of before-her-times hyperrealist style. No doubt, the handwritten signature, and (unlikely) date, were both added later.
    Collections
    1990 - Private collection - France
    Auctions
    14/11/1989 - NEW YORK. Christie's East“Viking -6909”, # 270 $ 21 000
    24/01/1990 - PARIS. Loudmer, # 189 $ 45 800