Académique Documents
Professionnel Documents
Culture Documents
De
Lempicka
1898
-1980
Sothebys
Auc<on
of
a
De
Lempicka
artwork,
Le
rve
(Rafala
sur
fond
vert)
hBps://www.youtube.com/watch?v=XU1_gaXhUrk&index=19&list=PL5r-
FOZnZ97sI7b1ldG6whqIMhPKGHDJ9
Sothebys
analysis
of
De
Lempicka
artwork,
Le
rve
(Rafala
sur
fond
vert)
hBps://www.youtube.com/watch?v=hmw3BlcUNYU&list=PL5r-
FOZnZ97sI7b1ldG6whqIMhPKGHDJ9&index=5
Video
of
De
Lempicka
in
Hollywood
hBps://www.youtube.com/watch?v=3gRYOcWd7JI
1929
In
its
issue
of
October
3rd,
1928,
the
very
widely
read
weekly
"Vu"
published
a
cover
picture
by
Kertsz,
featuring
a
young
lady
at
the
wheel
of
a
sports
car.
The
picture
cap<on
specied
that
the
model's
sports
oulit,
her
gloves
and
her
leather
cap,
were
all
from
Herms.
Lempicka
wears
exactly
the
same
accessories
in
her
self-portrait,
which
was
obviously
inspired
by
the
Kertsz
photo.
History
Lempicka's
BUGATTI:
The
green
Bugam
in
the
famous
"Self-portrait"
was,
in
fact,
a
Renault.
Moreover,
it
was
yellow,
if
we
are
to
believe
the
recollec<ons
of
her
daughter.
Be
that
as
it
may,
Lempicka
was
irresis<bly
seduc<ve
at
its
wheel,
so
much
so
that
she
caught
the
eye
of
the
woman
editor
of
a
major
German
fashion
magazine,
Die
Dame.
This
fruilul
encounter
subsequently
provided
Lempicka
with
opportuni<es
to
be
featured
on
many
cocirca
of
the
magazine,
greatly
contribu<ng
to
the
spread
of
her
reputa<on.
Images
of
TAMARA:
Never
had
an
ar<st
been
so
preoccupied
with
her
own
image
as
Lempicka:
she
herself
did
many
self-portraits,
and,
more
especially,
spent
hours
to
simng
for
photographers,
where
she
would
take
on
the
amtude
of
a
professional
model.
Her
long
stay
in
Hollywood,
and
all
her
eorts
to
penetrate
the
movie
world,
suggest
that
she
longed
to
be
in
the
"spotlight".
Her
"screen
test"
-
with
the
newsreel
producers
Path
in
1932
-
shows
a
supremely
self-assured
image
of
her
coming
down
the
staircase
of
her
rue
Mchain
studio,
ourishing
a
seemingly
endless
cigareBe-holder.
Tamara
de
Lempicka
,
Cover
for
Die
Dame
July
1,
1929
Cover
of
Vu
magazine,
published
in
France
between
1928
and
1940.
Portrait
of
a
Man
or
Tadeusz
de
Lempicki,
1928
Wearing
an
elegant
black
overcoat
comfortably
buBoned
over
a
scarf
of
pure
white,
and
with
his
opera
hat
in
one
hand,
Count
Lempitzki
(Lempicki)
is
ready
to
go
out
on
the
town.
It
is
night
<me
outside.
The
cold
buildings
in
the
background
seem
to
underscore
the
determined
and
conquering
step
of
someone
impa<ent
to
be
o.
In
his
haste,
the
Count
refused
to
let
the
ar<st
nish
his
lew
hand;
never
again
would
he
get
a
chance
to
pose
for
the
ar<st.
History
1928,
Chronology:
Tamara
and
Tadeusz
were
divorced
(against
the
ar<st's
wishes)
and
the
portrait
she
had
begun
to
paint
of
her
husband
(cat.38)
was
never
nished.
She
made
the
acquaintance
of
Dr
Pierre
Boucard,
who
commissioned
several
portraits.
Working
increasingly
hard,
she
began
to
enjoy
nancial
success,
spending
long
periods
in
Cannes.
Tadeusz
LEMPITZKI:
In
1916,
in
Petrograd
(St.
Petersburg),
Tamara
Gorska
married
Count
Tadeusz
Lempitzki
(or
Lempicki,
since
the
nobiliary
par<cle
was
added
later,
in
France).
Awer
jointly
emigra<ng
to
France
with
their
daughter
KizeBe,
the
couple
divorced
in
1928.
Bibliography
hBp://www.delempicka.org/boBom/home.html
hBp://www.tamara-de-lempicka.org/
hBps://www.youtube.com/watch?v=hmw3BlcUNYU&list=PL5r-
FOZnZ97sI7b1ldG6whqIMhPKGHDJ9&index=5
hBps://www.youtube.com/watch?
v=XU1_gaXhUrk&index=19&list=PL5r-
FOZnZ97sI7b1ldG6whqIMhPKGHDJ9