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Exhibitions from 1922 to 1997

1922 Paris
Salon d'Automne 1922, Paris, France
The catalog presented Lempicka as a man: LEMPITZKY (Tamara de) Born in Warsaw, Polish (French masculine form) 1 Place Wagram.

1923 Paris
Salon des Indépendants 1923, Paris, France
The catalog indicates: LEMPITZKY (Tamara de) Born in Warsaw, Polish (French masculine form) 1 place Wagram, 17e.

1923 Paris
Salon d'Automne 1923, Paris, France
Did Tamara de Lempicka purposely allow herself to be taken for a man by not correcting the catalogue listing? This year again the listing read: LEMPITZKY (Tamara de) Born in Warsaw, Polish (French masculine form) 5 rue Guy de Maupassant. In comparison to the modest prices in several hundreds of francs listed for works by other artists, Lempicka flaunted her ambitions by pricing her piece at 15,000 francs.

1924 Paris
Salon des Indépendants 1924, Paris, France
The catalog continues to present Lempicka as a man, but this time confers the Russian nationality on the artist: LEMPITZKY, (Tamara de) Born (French masculine form) in St. Petersburg, Russian 5 rue Guy de Maupassant, 16e. 1925 Milan Bottega di Poesia, "Tamara de Lempitzka", Milan 

1925, Italy
The exhibition was organized by Count Emanuele di Castelbarco, a painter in his own right, and a good friend of G. D'Annunzio. A very elegant, illustrated catalog was published for Tamara de Lempicka 's first solo show. Of the 30 paintings on display, 20 are easy enough to identify. See also "Count Emanuele de CASTELBARCO".  

1925 Paris
Salon des Indépendants 1925, Paris  1925, France
The catalog listing at last presents Lempicka in the feminine, although not yet under her artist name: LEMPITZKY (T. de) Born (French feminine form) in Warsaw, Polish (French feminine form).

1925 Paris
Salon d'Automne 1925, Paris  1925, France
Catalog listing: LEMPITZKI (Tamara de) Born in Warsaw, Polish (French masculine form). At Artès, on rue Vavin. The painting presented was identified by Gioia Mori, based on a description by Woroniecki, which appeared in La Pologne in October 1925.

1926 Paris
Salon des Indépendants 1926, Paris  1926, France
Two paintings, back from Italy, are listed in the Salon catalog for this year. Strangely enough, we notice that from 1923 to 1927, Lempicka priced all her paintings, regardless of their format, at 10,000 F.   

1926 Paris
Salon d'Automne 1926, Paris  1926, France
Lempicka exhibits two large-scale paintings back from Italy.

1926 Paris
Galerie Colette Weil, "Tamara de Lempicka", Paris  1926, France
The exhibition is mentioned in Lempicka's draft of an autobiography. Since no later indications have corroborated this allusion, we might surmise a mistake in Lempicka's dating.

1927 Bordeaux
Exposition de Bordeaux, "Exposition Internationale des Beaux-Arts", Bordeaux  1927, France
At this Salon, and for this painting, Tamara de Lempicka received honorable mention.

1927 Paris
Salon des Indépendants 1927, Paris  1927, France
The catalog annotations ("Peinture") are of little help in identifying the two works displayed that year.

1927 Paris
Salon d'Automne 1927, Paris  1927, France In the catalogue: LEMPICKA (Tamara de) née à Varsovie. Polonaise 5 rue Guy de Maupassant. We note that, after five years of hesitations, Tamara de Lempicka at last settled on her permanent name. In La Renaissance de l'art français, we find a listing for "belle Rafaëla against a green background" at that year's Salon d'Automne: this is not the painting that appears in the photograph by Marc Vaux, belonging to the Musée National d'Art Moderne collection, where, nonetheless, a label bearing No. 1377 appears on the frame.  

1928 Paris
Salon des Tuileries 1928, Paris  1928, France    

1928 Nantes
Musée des Beaux-Arts de Nantes, "Salon", Nantes  1928, France
The local daily Le Phare , of 21 January 1928, judged the prices quoted to be "very expensive", namely 15,000 F for "Kizette in Pink" and 10,000 F for "La belle Rafaëla" (two other paintings were listed, without prices: "Kizette on the Balcony" and "The Pink Tunic"). Fortunately, this warning did not keep the museum from acquiring the superb "Kizette in Pink". Thus, for the first time, a work by Lempicka was granted access to a public collection.

1928 Paris
Comédie des Champs-Elysées, "XIVème Salon de L'escalier", Paris  1928, France
Tamara de Lempicka showed "some thirty works" at this show, according to a 15 July 1928 article signed by her compatriot, the art critic Woroniecki. No list is available.

1928 Paris
Salon des Indépendants 1928, Paris  1928, France
Neither painting has been identified definitively, which in no way keeps us from noticing that their market price - like the dove depicted that year by the artist - had soared.

1928 Paris
Salon d'Automne 1928, Paris  1928, France   

1928 Warsaw
Zacheta Palace, Warsaw  1928, Poland
An annual exhibition was held at the Zacheta Palace, mention of which appears in the catalog Polish Women Artists and the Avant-Garde (Washington, 1992). In her list of exhibitions, Lempicka indicates her participation that year, with no further details.

1928 Paris
Galerie Zak, "Tamara de Lempicka", Paris  1928, France
Tamara de Lempicka mentions this exhibition in her notes. No trace of it has been found.

1929 Poznan
Poznan, "International Exhibition of Arts", Poznan  1929, Poland
"The Communicant" was singled out at this show by a bronze medal (which meant a great deal to Tamara de Lempicka, who never failed to mention this award in her biographies).

1929 Paris
Galerie Colette Weil 1929, "Peintres du Nu", Paris  1929, France
Although the theme of this exhibition was familiar to Tamara de Lempicka, there is no record of which paintings she presented. In any case, her participation attracted attention, and won her a solo show at this gallery. No doubt she encountered her master and friend André Lhote upon occasion, since he too showed here from time to time.

1929 Paris
Salon des Indépendants 1929, Paris  1929, France
The photograph of the hanging (with Tamara de Lempicka's paintings) appeared in the New York Herald Tribune of 19 January 1929. This phto shows that, at the last moment, the chaste "Communicant" (B.102) replaced the damnable "Rafaëla" listed in the catalog.  

1929 Pittsburgh 
Carnegie Institute 1929, "28th International Exhibition of Paintings", Pittsburgh  1929, United States
Lempicka's participation in this annual international Salon, restricted to a select group of top-notch artists, coincided with her first trip to the States.

1929 Paris
Salon d'Automne 1929, Paris  1929, France      

1929 Paris
Salon des Tuileries 1929, Paris  1929, France
The catalog made clear that the only painting on display that year belonged to the "collection of Doctor Boucard", who, at the time, was every inch the elegant patron. Lempicka thus paid tribute to him, while by the same token she linked her name to a key Parisian figure (see the photos of J.-H. Lartigue in Deauville).

1929 Paris 
"Cercle des Artistes Polonais à Paris", Paris  1929, France
The Berlin "Kunstauktion" of 12 January 1930 served to promote a show representing "over one hundred artists" by publishing a reproduction of three of Lempicka's paintings. No trace of this event exists except for this announcement.

1930 Paris
Galerie Colette Weil 1930, "Tamara de Lempicka", Paris  1930, France
Lempicka's first major solo show in Paris (with the exception of the Galerie Zak show in 1928, which left no trace) took place at the Galerie Colette Weil, 71 rue de la Boétie, from May 21 to 31, 1930. A particularly flattering review of this show by Pierre Berthelot, in the 20 June 1930 issue of Beaux-Arts , confirms the presence of the following paintings at this show: "Portrait of Romana de La Salle". "The Slave", "Telephone", and "Woman with Emeralds". The writer notes that "rarely have so many paintings been grouped together. They can stand to hang next to each other, often a dangerous undertaking, because in their unity of style each is quite different from the next, without resorting to any artificial presentation devices; most have even been left unframed." In another article, published in the 21 May 1930 issue of Comœdia, André Warnod comments very feelingly on the "play of naked flesh showing through a network of black lace", which he had admired in the portrait of Nana de Herrera. Further on, he mentions the "portrait of a communicant whose pink face stands out from the mass of white fabric."Moreover, a photo of the portrait of Romana de La Salle illustrated an article by Pierre Berthelot in Beaux Arts , while a reproduction of "Kizette on the Balcony" appeared in the 23 May 1930 issue of Une Semaine à Paris which announced the exhibition.

1930 Paris
Salon des Tuileries 1930, Paris  1930, France
"Woman with Emeralds" has been definitively identified as "Portrait of Mrs. Allan Bott". The "Painting" must be the portrait of Nana de Herrera, according to Gioia Mori, who bases her opinion on a somewhat approximative review of the Salon in the July 1930 issue of Le Crapouillot, where the two paintings are mixed up: "The portrait of Mrs. A.B. wearing a mere nothing of lace tempted a visitor..."

1931 Paris
Galerie Colette Weil 1931, "Tamara de Lempicka", Paris  1931, France
The artist's second solo show at 71, rue de la Boétie. The opening reception, which took place on May 11, 1931, was announced in Comœdia (8 May 1931): "the opening reception to be held from 3 PM to midnight promises to be a a very successful little artistic and mundane fete." Again in Comœdia (17 May 1931), André Warnod describes the exhibition: "Small paintings like "Woman with Lilac" ("Spring"), "Women with Doves", have a pure grace to them that enhances the quality of their seductiveness. The article, which goes on to mention "Portrait of Dr. Boucard", is illustrated by a reproduction of "The Blue Hour".

1931 Pittsburgh
Carnegie Institute 1931, "30th International Exhibition of Paintings", Pittsburgh  1931, United States

1931 Paris
Salon des Indépendants 1931, Paris  1931, France
The catalogue mentions the change of address: LEMPICKA (Tamara de), 7 rue Méchain, 14e. Basing his opinion on a review by Edouard Woroniecki in the April 1931 issue of La Pologne ("Her nude girl against an architectural background of skyscrapers possesses a touchingly sculptural body."), Gioia Mori believes that the "girl" to whom the critic refers belongs to "Nude with Buildings". Identifying the other work listed as "Painting" is pure conjecture.

1931 Paris
Salon d'Automne 1931, Paris  1931, France

1931 Paris
Salon des Tuileries 1931, Paris  1931, France
The catalogue annotations are no help in identifying the works on display.

1932 Paris
Salon des Indépendants 1932, Paris  1932, France
Lempicka's steadfast participation in this Salon was at last rewarded at this year's edition. A letter from the Ministry of Fine Arts, dated 25 February 1932, informed her that the State was acquiring one of the two works contributed: "Jeune fille" - No. 2333, at the price of 1,000 francs (although 8,000 francs was quoted in the catalog!)

1932 Paris
Salon d'Automne 1932, Paris  1932, France
Unlike the preceding years, this year Lempicka presented only one painting at this show.

1932 Paris
Salon des Femmes Artistes Modernes 1932, FAM, Paris  1932, France
This second Salon of Modern Women Artists, created the year before by Mrs. Marie-Anne Camax-Zoeger, was again held at the gallery of the Théâtre Pigalle.

1932 Paris
Salon des Tuileries 1932, Paris  1932, France    

1932 Paris
Studio on rue Méchain, Paris  1932, France
The artist mounted her own show here. We know of it through a review by Pierre Berthelot, which appeared in the Beaux-Arts art magazine, and specified: "Her work continues to develop in the direction of a more clearly defined geometrical style. Thus, increasingly, the curls of hair look like metal turnings, and the forms, especially the breasts, are taking on geometric volumes." Further on: "The nudes are very beautiful also, in perhaps more muted tones than usual."

1932 Paris
Galerie Fauvety, Paris  1932, France
On 28 October 1932, at 50 faubourg Saint-Honoré, an opening reception was held at the Galerie Fauvety, featuring paintings by Gus Bofa, Foujita, Jouve, Kisling, Marie Laurencin, Tamara de Lempicka, Picasso, and lacquer pieces by Dunand.

1933 Paris
Salon des Femmes Artistes Modernes 1933, FAM, Paris  1933, France
The Salon was held at the gallery of the Maison de France, 101 avenue des Champs-Elysées, from May 9 to 22.

1933 New York
Macy's, New York, New-York  1933, United States
The 19 October 1933 issue of World Telegram announced that two paintings by Tamara de Lempicka were on display at this big New York department store.

1933 Paris
Salon des Indépendants 1933, Paris  1933, France
The catalog lists the five paintings being presented, at very much lowered prices in view of the economic crisis.  

1933 Paris
Salon d'Automne 1933, Paris  1933, France   

1934 Paris
Salon des Tuileries 1934, Paris  1934, France

1934 Paris
Galerie du Cygne, Paris  1934, France
Jacqueline d'Hariel - the author of numerous reviews testifying to her friendly appreciation of Tamara de Lempicka - directed the Galerie du Cygne, a gallery reserved to works by women artists. Artists represented included: Marie Laurencin, Hermine David, Chana Orloff, and Tamara de Lempicka.

1934 Paris
Salon des Femmes Artistes Modernes 1934, FAM, Paris  1934, France This FAM Salon was again held at the gallery of the Maison de France, 101 avenue des Champs-Elysées, from May 24 to June 10. 1935 Paris Salon des Femmes Artistes Modernes 1935, FAM, Paris  1935, France This edition of the FAM Salon, held at the Bernheim-Jeune Gallery from May 28 to June 8, included a small retrospective of Mary Cassatt's work. Despite the fact that only one painting was listed - without title - in the exhibition catalogue, Tamara de Lempicka set three works on display there: these were known to the exhibition photographer.

1936 Paris
Salon des Femmes Artistes Modernes 1936, FAM, Paris  1936, France
Once again, the Salon took place at the Bernheim-Jeune Gallery.

1937 Paris
Musée du Jeu de Paume, "Les femmes artistes d'Europe", Paris  1937, France
The exhibition was held under the auspices of the 1937 International Exhibition. Le Figaro commented that "the painting presented by Tamara de Lempicka is the most beautiful of the whole exhibition" (quoted by Martina De Luca in Tamara de Lempicka, tra eleganza e trasgressione, op.cit.). The work in question was on loan from the Musée du Luxembourg.

1937 Paris
Salon d'Automne 1937, Paris  1937, France
1937 Paris
Salon des Femmes Artistes Modernes 1937, FAM, Paris  1937, France
After a first session in July, in Prague, the FAM Salon set itself up in August at the Pavillon des Expositions along the Esplanade des Invalides. Tamara de Lempicka, just emerging from a serious depression which had caused her to significantly slow down her production, displayed a painting belonging to a previous period of her artistic activity.      

1938 Paris
Salon des Tuileries 1938, Paris  1938, France
After a long period of absence, Tamara de Lempicka reappeared at a major Parisian Salon. Work No. 1160, "Painting", is identified by a label on the reverse (see Pillon auction sale, Le Touquet, Palais de l'Europe, 14 May 1989, Lot 11 - "The Peasant").    

1938 Paris
Salon des Femmes Artistes Modernes 1938, FAM, Paris  1938, France
This, the last FAM Salon, was held from March 14 to 26 "at the private mansion of Mr. Jean Charpentier"; it took as its theme: "Drawing, the Integrity of Art".

1939 New York
Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York  1939, United States
The gallery was located at 730 Fifth Avenue. A presentation catalog listed these twelve recent paintings, followed by a biography signed by James St. L. O'Toole. A review of the exhibition appeared in the New York gallery guide Pictures on Exhibit, May 1939.  

1939 Pittsburg
Carnegie Institute 1939, "38th International Exhibition of Paintings", Pittsburgh  1939, United States
The melancholic "Man with Guitar" served to illustrate a number of announcements of this exhibition in the local press.

1941 New York
Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York  1941, United States
Since 1931, Julian Levy owned and directed a reputed gallery in New York, at 15 East 57th Street, where he presented photographers and European artists in a Surrealist vein. The Tamara de Lempicka (Baroness Kuffner) exhibition he mounted on April 7, 1941, was a great deal more comprehensive than the show he later had travel to California. The above list was followed by the specification "Drawings". No.8 is identified by a catalog entry (Christie's auction sale, London, 28 June 1988).

1941 San Francisco
Courvoisier Gallery, "Tamara de Lempicka/Baroness Kuffner", San Francisco  1941, United States
The exhibition organized by Julian Levy was mounted anew, in collaboration with the Courvoisier Gallery of San Francisco (133 Geary Street). The list of works on display was the same as for the New York exhibition.

1941 Los Angeles
Julien Levy Galleries, "Tamara de Lempicka", Los Angeles  1941, United States
The Los Angeles exhibition (at 8704 Sunset Boulevard, Hollywood) was based on the New York show. Only twelve paintings were hung. This "concentrate" of Lempicka was staged using dramatic lighting - widely commented in reviews of the show - that spotlit the paintings themselves, while leaving the rest of the room in darkness. The inaugural opening reception at Julian Levy's new gallery was a very mundane event, described in detail by the press (a tent set up on the premises, "gypsy" dances and singing). Generally speaking, the works inspired favorable reactions; reproductions of them appeared in the local dailies. A group of drawings (unidentified) completed this exhibition. 

1942 Milwaukee
Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee  1942, United States
A partial repeat of the shows at respectively the Paul Reinhardt Gallery and the Julian Levy Gallery, with five additional paintings. A catalog published for the occasion featured a very mundane biography, which was just as awkward as the exhibition's title.

1944 Paris
Salon d'Automne 1944, Paris  1944, France
At a time when communications were inevitably disrupted, Tamara de Lempicka managed to have this painting sent - who knows through what channels - from New York to Paris.

1950 Paris
Salon des Indépendants 1950, Paris  1950, France

1950 Paris
Salon des Femmes Peintres et Sculpteurs, Paris  1950, France
According to the weekly Une Semaine à Paris (31 May 1950), Tamara de Lempicka displayed a "Bust in the Clouds" (reproduced). No catalogue.

1955 Paris
Galerie André Weill, "Hélène Gallet et Tamara de Lempicka", Paris  1955, France
At 26 avenue Matignon, "Tamara de Lempicka, back from America for a time, exhibited several recent paintings at the André Weil Gallery; how I enjoyed again coming across those still lifes, figures, faces...which I had not seen gathered together since the war... If the truth be said, Tamara de Lempicka has also come up with several abstract compositions but, as she herself admits, these are but a simple play of the mind, a manner of juggling motifs and colors, to which she attaches no meaning, so that it would be in vain that one would seek to elucidate their mystery... (Roger Nalys in a review illustrated with a humoristic sketch, in the 20 October 1955 issue of Combat, and pleasingly titled The Minks are on the Loose.). The poster for this show featured "The Gray Turban".

1957 Rome
Galerie Sagittarius, "Tamara de Lempicka", Rome  1957, Italy
The invitation card, modestly along the lines of the one by Julian Levy, specifies: "Stefanella Barberini Colonna di Sciarra le annuncia l'apertura della mostra di Tamara de Lempicka nella galleria Sagittarius, 14 Mai 1957, Roma, via Lazio, 22b." The gallery director was a princess.

1961 Paris
Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris  1961, France
75 rue du faubourg Saint-Honoré was the venue for a retrospective "covering three manners spread over three periods, from 1930 to 1960". Many advertisements appeared in the press. For example, one in Arts of 31 May 1961, was worded: "Tamara de Lempicka, neo-cubism, abstract, figurative, until June 17." Much work had gone into ensuring press coverage, but nonetheless, the results were disappointing. Apparently this mini-retrospective, which, by its mixture of categories was intended to be heterogeneous, ended up as a flop. The entire show travelled to Vichy, from July 22 to August 4, at a branch of the Ror-Volmar Gallery. It was taken up again the next year, by the Alexander Iolas Gallery in New York, where it once more failed to succeed.  

1961 New York
Iolas Gallery, "Tamara de Lempicka", New-York  1961, United States
An ironic little promotional echo, appearing in the New York Times of December 2, 1961, announced this exhibition at the Iolas Gallery, 123 East 55th Street. This show was a remake of the one held the year before at the Galerie Ror-Volmar in Paris (no catalog). Although the best of this artist's work from the thirties was on display, this undertaking was a complete fiasco. In 1972, Tamara de Lempicka claimed to have refused all exhibition proposals since 1961: there could not have been all that many.  

1972 New York
FAR Gallery, "Women-Femmes-Mujeres-Frauen", New-York  1972, United States
This exhibition, which included works by Arthur B. Davies, Richard Lindner, Henri Matisse, Georges Rouault, Toulouse.Lautrec, Foujita, Käthe Kollwitz, Eduardo Leon Garrido, etc., granted a worthy presentation to Tamara de Lempicka's "Pink Tunic", which had just been rediscovered at a New York flea market. It is this picture - by a completely forgotten artist whose name had become almost unknown - which was chosen to announce an exhibition that could nonetheless boast names with a far more prestigious ring to them at the time.

1972 Paris
Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris  1972, France
This exhibition represents the start of the "rediscovery" of Tamara de Lempicka's work, although she herself - claiming later that her fame had never been eclipsed - refused this notion of rediscovery. In point of fact, from that date on, tired of all the manoeuvring to further her career, she had gradually painted less and less. The early sixties art market was in the throes of reevaluating twentieth-century art. The selection of paintings by Tamara de Lempicka for this retrospective - mainly her portrait series from the twenties and thirties, the very quintessence of a romantic period and social class - came just at the right time to meet the highly curious public's demand for works equal to their expectations with respect to that bygone era. Tamara de Lempicka herself was not really aware of this favorable turn of events. Indeed, she was very skeptical about mounting an exhibition focussing only on her works of the twenties and thirties; in her own mind, these were outdated once and for all. Despite her reticence, she allowed herself to be convinced, opening the closets to which her "old stuff" had been relegated pell-mell. The success of this show with the press was surprising. It met with somewhat less success as far as sales were concerned, despite prices that seem ridiculous in today's light (for example, "Portrait of Marquis Sommi" found no buyers at about 25,000 F, that is $18,000 today). It was not until the early eighties that prices for this artist's works reached a respectable level. Nonetheless, as of 1972 Tamara de Lempicka could recognize her work's new impact on the art market, and rest assured as to posterity. The 64-page exhibition catalog describes 48 paintings, of which 24 are reproduced. The preface to this catalog (op. cit.) was written by Jean Réau.  

1975 London - Edinburgh
Scottish Art Council, "Fashion 1900-1939", Edinburgh-London  1975, Great Britain

1975 Stratford
The Gallery Stratford, "Art Déco 1925-1935", Stratford  1975, Canada

1976 Paris
Musée des Arts Décoratifs, "Paris 1925", Paris  1976, France
The exhibition was conceived by Yvonne Brunhammer, curator of the Musée des Arts Décoratifs in Paris.

1976 Göteborg
Galerie von Bartha-Lönn, "Europeisk Konst", Göteborg  1976, Sweden

1976 Paris
Musée du Louvre, "Les nouvelles acquisitions du Musée d'Orléans", Paris  1976, France

1977 Berlin
Nationalgalerie, "Tendenzen der Zwanziger Jahre", Berlin  1977, Germany

1978 Paris
Grand Palais, "L'art moderne dans les musées de province", Paris  1978, France

1978 London
Hayward Gallery, "Neue Sachlichkeit and German Realism of the 20s", London  1978, Great Britain
By a stroke of good fortune, this show, organized by the Arts Council of Great Britain, once again reunited - through two paintings - Tamara de Lempicka with one of the first collectors of her works, the Swiss writer Cuno Hofer. Hofer, who in 1924 had purchased one of Lempicka's main works, "Rhythm"), was present in the form of a portrait done by the German painter Davringhausen.

1980 Paris
Musée des Arts Décoratifs 1980, "La famille des portraits", Paris  1980, France
This exhibition was conceived by François Mathey, the imaginative director of the Musée des Arts Décoratifs in Paris.

1980 Milan
Palazzo Reale, "L'Altra Metà dell'Avanguardia 1910-1940", Milan  1980, Italy
Directed by L. Vergine, this exhibition was held at the Palazzo Reale in Milan and the Palazzo dei Esposizioni in Rome.    

1981 Tokyo - Osaka
Seibu, "Tamara de Lempicka", Tokyo-Osaka  1981, Japan
This exhibition, reserved for Japan, was the occasion for the publication of a very comprehensive catalog, drawn up by Germain Bazin, the director of the Musée du Louvre, who gathered together the last tributes paid to Tamara de Lempicka before her death in 1980 (op.cit.). The exhibition comprised 48 paintings from all periods of the artist's artistic production.

1981 Paris
Galerie Françoise Blondel & Yves Plantin, "Tamara de Lempicka", Paris  1981, France
The gallery was located at 33, rue de Seine. About ten paintings went on display; no catalogue.

1981 Zürich
Walter Haas: Art Déco, le Style Moderne , Zürich  1981, Switzerland  

1984 Los Angeles
Hollywood American Legion Post, "Tamara", Los Angeles  1984, United States
An exhibition organized in Los Angeles to promote the play Tamara, produced by Barrie Wexler and Moses Znaimer (see under Bibliography, "Films, Theater")

1986 Berlin
Neuer Berliner Kunstverein, "Androgyn", Berlin  1986, Germany
This exhibition was organized under the direction of Ursula Prinz.

1989 Mexico
Museo Nacional de Arte, "Tamara de Lempicka", Mexico  1989, Mexico
The exhibition took place at the Museo Nacional de Arte de Mexico, who thus paid tribute to an artist who had chosen that country to live out her last years of life.

1989 London
Hayward Gallery 89, "La France, Images of Woman and Ideas of Nation, 1789-1989", London  1989, Great Britain  

1991 Montréal
Musée des Beaux-Arts de Montréal, "Les années 20, l'âge des métropoles", Montréal  1991, Canada
This exhibition, organized by Jean Clair, on the theme of urban civilization, presented three paintings by Tamara de Lempicka.

1992 Washington
The National Museum of Women in the Art, "Polish Women Artists and Avant-Garde/Voices of Freedom", Washington  1992, United States
The exhibition was held in 1992 (January-March) at the National Museum of Women in Art, in Washington D.C. A deluxe catalog was published, with a reproduction of a detail of "The Musician" on its cover.

1992 Rome
Accademia Valentino, "La seduzione da Boucher a Warhol", Rome  1992, Italy
The painting "Sharing Secrets" illustrated the cover of this catalogue.

1994 Rome
Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome  1994, Italy
This major retrospective was held at the Villa Médicis, a seignorial setting that would certainly have met with Tamara de Lempicka's approval. The comprehensive exhibition catalogue, drawn up by Martina de Luca, with a preface by Maurizio Calvesi, describes 57 paintings ranging from the artist's early works to those of the the fifties.

1994 Montréal
Musée des Beaux-Arts de Montréal , "Tamara de Lempicka / Symbole d'élégance et de transgression" Montréal  1994, Canada
The same show as the Rome retrospective, with a catalogue translated into French for the occasion.

1996 Rome
Galleria Campo dei Fiori, "Da Balla a De Lempicka", Rome  1996, Italy  

1997 Tokyo – Hiroshima
Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima  1997, Japan
This is the second major retrospective in Japan (after the one in Seibu in 1980) devoted to Tamara de Lempicka's work. The exhibition, which took place from July 1 to November 10, 1997, was divided between four museums: in Tokyo, Hiroshima, Nagoya, and Osaka.