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Polish painter

Tamara de Lempicka
Tamara Łempicka
Tamara de Lempicka's bust in Kielce, Poland
Born	Tamara Rosalia Gurwik-Górska (1898-05-16)16 May 1898 Warsaw, Poland[a]
Died	18 March 1980(1980-03-18) (aged 81) Cuernavaca, United mexican states
Nationality	Smoothen
Notable work	La Belle Rafaela (1927) Self-portrait, Tamara in a Green Bugatti (1929) Les Jeune Fille Aux Gant (1930) Adult female with Dove (1931) Adam and Eve (1932)
Way	Fine art Deco
Motility	Académie de la Grande Chaumière in Paris
Spouse(s)	Tadeusz Łempicki ​ ​ (1000. 1916; div. 1931)​ Raoul Kuffner de Diószegh ​ ​ (m. 1934; died 1961)​
Children	Maria Krystyna 'Kizette' Łempicka Foxhall (daughter) (1916-2001)
Relatives	Adrienne Górska, builder (sister)
Website	world wide web.delempicka.org

Tamara Łempicka (born Tamara Rosalia Gurwik-Górska;^[ane] 16 May 1898 – 18 March 1980), better known as Tamara de Lempicka, was a Polish painter who spent her working life in France and the United states of america. She is best known for her polished Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes.

Born in Warsaw, Lempicka briefly moved to Petrograd where she married a prominent Shine lawyer, so travelled to Paris. She studied painting with Maurice Denis and André Lhote. Her style was a blend of late, refined cubism and the neoclassical style, specially inspired past the piece of work of Jean-Dominique Ingres.^[2] She was an active participant in the artistic and social life of Paris between the Wars. In 1928 she became the mistress of Baron Raoul Kuffner, a wealthy fine art collector from the former Austria-hungary. After the expiry of his married woman in 1933, the Businesswoman married Lempicka in 1934, and thereafter she became known in the press as "The Baroness with a Castor".

Post-obit the outbreak of World War 2 in 1939, she and her husband moved to the United states of america and she painted celebrity portraits, as well as still lifes and, in the 1960s, some abstract paintings. Her work was out of fashion later Earth War Ii, but made a comeback in the belatedly 1960s, with the rediscovery of Art Deco. She moved to Mexico in 1974, where she died in 1980. At her request, her ashes were scattered over the Popocatépetl volcano.

Early life [edit]

Warsaw and St. Petersburg (1898–1917) [edit]

She was built-in on 16 May 1898, in Warsaw, then part of Congress Poland of the Russian Empire.^[3] Her father was Boris Gurwik-Górski, a Russian Jewish chaser for a French trading company,^{[3] [4] [five] [6]} and her mother was Malwina Dekler, a Polish socialite who had lived almost of her life away and who met her husband at ane of the European spas.^[seven] When she was ten, her mother commissioned a pastel portrait of her by a prominent local artist. She detested posing and was dissatisfied with the finished piece of work. She took the pastels, had her younger sister pose, and fabricated her first portrait.^[eight]

In 1911 her parents sent her to a boarding school in Lausanne, Switzerland, but she was bored and she feigned illness to exist permitted to leave the school. Instead, her grandmother took her on a tour of Italy, where she adult her interest in fine art. Subsequently her parents divorced in 1912, she chose to spend the summer with her wealthy Aunt Stefa in Leningrad.^[9] There, in 1915, she met and fell in love with a prominent Polish lawyer, Tadeusz Łempicki (1888–1951). Her family offered him a large dowry, and they were married in 1916 in the chapel of the Knights of Malta in St. petersburg.^{[10] [viii]}

The Russian Revolution in November 1917 overturned their comfortable life. In December 1917, Tadeusz Łempicki was arrested in the middle of the night by the Cheka, the secret police. Tamara searched the prisons for him, and with the assist of the Swedish consul, to whom she offered her favors, she secured his release.^[eight] They traveled to Copenhagen then to London and finally to Paris, where Tamara'due south family had also found refuge.^{[11] [ten]}

Career [edit]

Paris (1918–1939) [edit]

In Paris, the Łempickis lived for a while from the auction of family jewels. Tadeusz proved unwilling or unable to find suitable work. Their girl, Maria Krystyna "Kizette", was built-in effectually 1919,^[12] adding to their financial needs. Lempicka decided to become a painter at her sis's suggestion, and studied both at the Petrograd Academy of Arts and Académie de la Grande Chaumière with Maurice Denis then with André Lhote, who was to accept a greater influence on her mode.^{[xiii] [14] [15]} Her get-go paintings were still lifes and portraits of her daughter Kizette and her neighbor. She sold her first paintings through the Galerie Colette-Weil, which allowed her to showroom at the Salon des indépendents, the Salon d'automne, and the Salon des moins de trente ans, for promising young painters.^[eight] She exhibited at the Salon d'automne for the get-go time in 1922. During this catamenia, she signed her paintings "Lempitzki"—the masculine form of her name.^[xvi]

Her breakthrough came in 1925, with the International Exhibition of Modern Decorative and Industrial Arts, which later gave its name to the fashion Art Deco. She exhibited her paintings in ii of the major venues, the Salon des Tuileries and the Salon des femmes peintres. Her paintings were spotted by American journalists from Harper's Bazaar and other manner magazines, and her proper name became known.^[8] In the same year, she had her first major exposition in Milan, Italian republic, organized for her by Count Emmanuele Castelbarco. For this show, Lempicka painted 28 new works in half dozen months.^[17] During her Italian tour, she took a new lover, the Marquis Sommi Picenardi. She was as well invited to meet the famous Italian poet and playwright Gabriele d'Annunzio. She visited him twice at his villa on Lake Garda, seeking to pigment his portrait; he, in turn, was set on seduction. After her unsuccessful attempts to secure the commission, she went away aroused, while d'Annunzio likewise remained unsatisfied.^[18]

Façade of 7, rue Méchain, her Paris studio

In 1927, Lempicka won her first major award, the first prize at the Exposition Internationale des Beaux Arts in Bordeaux, France, for her portrait of Kizette on the Balcony. In 1929, another portrait of Kizette, at her First Communion, won a bronze medal at the international exposition in Poznań, Poland.^[8] In 1928 she was divorced from Tadeusz Łempicki.^[eight] That aforementioned year, she met Raoul Kuffner, a baron of the former Austria-hungary and an art collector. His title was not an ancient one; his family had been granted the title past the 2d-to-last Austro-Hungarian Emperor, Franz-Joseph I, considering Kuffner'south family had been the supplier of beef and beer to the purple court.^[19] He owned properties of considerable size in eastern Europe. He commissioned her to pigment his mistress, the Spanish dancer Nana de Herrera. Lempicka finished the portrait (which was not very flattering to de Herrera) and took the place of de Herrera every bit the mistress of the baron.^[11] She bought an flat on rue Méchain in Paris and had it decorated past the modernist architect Robert Mallet-Stevens and her own sis Adrienne de Montaut. The furniture was past Rene Herbst. The ascetic, functional interiors appeared in ornamentation magazines.^[20]

In 1929, Lempicka painted i of her best-known works, Autoportrait (Tamara in a Green Bugatti), for the embrace of the German mode magazine Dice Dame. This showed her at the bicycle of a Bugatti racing automobile wearing a leather helmet and gloves and wrapped in a gray scarf, a portrait of common cold beauty, independence, wealth, and inaccessibility.^[21] In fact, she did not own a Bugatti automobile; her own car was a small yellow Renault,^[22] which was stolen one night when she and her friends were celebrating at La Rotonde in Montparnasse.

She traveled to the U.s. for the first time in 1929 to paint a portrait of the fiancée of the American oilman Rufus T. Bush and to arrange a testify of her piece of work at the Carnegie Institute in Pittsburgh. The exposition was a success, but the money she earned was lost when the bank she used collapsed following the stock market place crash of 1929. The portrait of Joan Jeffery, fiancée of Rufus T. Bush, was completed but put into storage post-obit the couple's divorce in 1932. It was sold by Christies in 2004 following the death of Joan (now Vanderpool).^[23] Lempicka'southward career reached a peak during the 1930s. She painted portraits of Rex Alfonso 13 of Spain and Queen Elizabeth of Greece. Museums began to collect her works. In 1933, she traveled to Chicago where her pictures were shown aslope those of Georgia O'Keeffe, Santiago Martínez Delgado, and Willem de Kooning. Despite the Corking Depression, she continued to receive commissions and showed her piece of work at several Paris galleries.^[eight]

The wife of Baron Kuffner died in 1933.^[24] De Lempicka married him on 3 Feb 1934 in Zurich.^[25] She was alarmed past the rise of the Nazis and persuaded her hubby to sell most of his properties in Republic of hungary and to move his fortune and his belongings to Switzerland.^[eight]

The United States and United mexican states (1939–1980) [edit]

In the winter of 1939, following the outbreak of World State of war Two, Lempicka and her married man moved to the Usa. They settled kickoff in Los Angeles. The Paul Reinhard Gallery organized a bear witness of her work, and they moved to Beverly Hills, settling into the one-time residence of the movie director Male monarch Vidor. Shows of her work were organized at the Julian Levy Gallery in New York, the Courvoisier Galleries in San Francisco, and the Milwaukee Institute of Art, but her shows did not have the success she had hoped for. Her daughter Kizette was able to escape from occupied French republic via Lisbon and joined them in Los Angeles in 1941. Kizette married a Texas geologist, Harold Foxhall. In 1943, Baron Kuffner and de Lempicka relocated to New York City.^[8]

In the postwar years, she continued a frenetic social life, only she had fewer commissions for club portraits. Her art deco style looked anachronistic in the flow of postwar modernism and abstract expressionism. She expanded her subject matter to include nonetheless lifes, and in 1960 she began to paint abstract works and to use a palette knife instead of her smooth before brushwork. She sometimes reworked earlier pieces in her new style. The crisp and straight Amethyste (1946) became the pink and fuzzy Girl with Guitar (1963). She had a show at the Ror Volmar Gallery in Paris in May and June 1961, but it did not revive her earlier success.^[26]

Baron Kuffner died of a heart attack in Nov 1961 on the ocean liner Liberté en route to New York.^[27] Post-obit his death, Lempicka sold many of her possessions and made three around-the-earth trips by ship. In 1963, Lempicka moved to Houston, Texas, to be with Kizette and her family and retired from her life as a professional person artist.^[viii] She connected to repaint her earlier works. She repainted her well-known Autoportrait (1929) twice between 1974 and 1979; Autoportrait Three was sold, though she hung Autoportrait Ii in her retirement apartments, where it would remain until her death.^[28] The final work she painted was the quaternary copy of her painting of St. Anthony.^[29]

In 1974, she decided to motility to Cuernavaca, Mexico. Later on the death of her husband in 1979, Kizette moved to Cuernavaca to take care of de Lempicka, whose health was declining. De Lempicka died in her sleep on 18 March 1980. Following her wishes, her ashes were scattered over the volcano Popocatépetl.^[17]

Rediscovery [edit]

A resurgence of interest in Art Deco began in the late 1960s. A retrospective of her work was held at the Luxembourg Gallery in Paris in summer 1972, and received positive reviews.^{[30] [31]} Afterward her death, her early Art Deco paintings were being shown and purchased once over again. A stage play, Tamara, was inspired by her coming together with Gabriele D'Annunzio and was beginning staged in Toronto; it then ran in Los Angeles for eleven years (1984–1995) at the Hollywood American Legion Post 43, making information technology the longest running play in Los Angeles, and some 240 actors were employed over the years. The play was also subsequently produced at the Seventh Regiment Armory in New York City.^[32] In 2005, the actress and creative person Kara Wilson performed Deco Diva, a one-woman stage play based on Lempicka's life. Her life and her relationship with 1 of her models is fictionalized in Ellis Avery's novel The Last Nude,^[33] which won the American Library Association Stonewall Book Awards Barbara Gittings Literature Award for 2013.^[34]

Style and subjects [edit]

The best description of Lempicka's work was her own: "I was the first adult female to make clear paintings", she later told her daughter, "and that was the origin of my success. Among a hundred canvases, mine were always recognizable. The galleries tended to show my pictures in the best rooms, because they attracted people. My piece of work was articulate and finished. I looked around me and could but see the total devastation of painting. The banality in which art had sunk gave me a feeling of disgust. I was searching for a craft that no longer existed; I worked speedily with a frail castor. I was in search of technique, craft, simplicity and good gustation. My goal: never copy. Create a new style, with luminous and brilliant colors, rediscover the elegance of my models."^{[2] [35]}

She was one of the best-known painters of the Art Deco style, a group which included Jean Dupas, Diego Rivera, Josep Maria Sert, Reginald Marsh, and Rockwell Kent, but unlike these artists, who often painted big murals with crowds of subjects, she focused almost exclusively on portraits.

Her offset teacher at the Academie Ranson in Paris was Maurice Denis, who taught her co-ordinate to his celebrated maxim: "Recall that a painting, before it is a war equus caballus, a nude woman or some anecdote, is essentially a apartment surface covered with colors assembled in a certain social club." He was primarily a decorative artist, who taught her the traditional craftsmanship of painting.^[36] Her other influential teacher was André Lhote, who taught her to follow a softer, more refined form of cubism that did not shock the viewer or look out of place in a luxurious living room. Her cubism was far from that of Pablo Picasso or Georges Braque; For her, Picasso "embodied the novelty of destruction".^[35] Lempicka combined this soft cubism with a neoclassical style, inspired largely by Ingres,^[37] specially his famous Turkish Bath, with its exaggerated nudes crowding the sail. Her painting La Belle Rafaëlla was especially influenced past Ingres. Lempicka's technique, following Ingres, was make clean, precise, and elegant, but at the aforementioned time charged with sensuality and a suggestion of vice.^[2] The cubist elements of her paintings were usually in the background, backside the Ingresque figures. The smooth skin textures and equally smooth, luminous fabrics of the clothes were the dominant elements of her paintings.^[2]

Known especially for her portraits of wealthy aristocrats, she also painted highly stylized nudes.^[38] The nudes are usually female, whether depicted alone or in groups; Adam and Eve (1931) features one of her few male person nudes.^[39] After the mid-1930s, when her Art Deco portraits had gone out of manner and "a serious mystical crisis, combined with a deep depression during an economic recession, provoked a radical change in her work,"^[xv] she turned to painting less frivolous subject area matter in the same style. She painted a number of Madonnas and turbaned women inspired past Renaissance paintings, too every bit mournful subjects such as The Mother Superior (1935), an image of a nun with a tear rolling down her cheek, and Escape (1940), which depicts refugees.^[twoscore] Of these, art historian Gilles Néret wrote, "The baroness's more 'virtuous' subjects are, information technology must be said, lacking in conviction when compared with the sophisticated and gallant works on which her onetime celebrity had been founded."^[41] Lempicka introduced elements of Surrealism in paintings such as Surrealist Hand (c. 1947) and in some of her still lifes, such every bit The Key (1946). Between 1953 and the early on 1960s, Lempicka painted difficult-edged abstractions that conduct a stylistic similarity to the Purism of the 1920s.^[42] Her final works, painted in warm tones with a palette knife, have usually been considered her least successful.^{[42] [41]}

Personal life [edit]

Lempicka placed loftier value on working to produce her ain fortune, famously maxim, "There are no miracles, there is only what you brand." She took this personal success and created a hedonistic lifestyle for herself, accompanied past intense love affairs within high club.^[43]

Bisexuality [edit]

Lempicka was bisexual.^[44] Her diplomacy with both men and women were conducted in ways that were considered scandalous at the time. She often used formal and narrative elements in her portraits, and her nude studies included themes of desire and seduction.^[45] In the 1920s, she became closely associated with lesbian and bisexual women in writing and artistic circles, among them Violet Trefusis, Vita Sackville-West, and Colette. She also became involved with Suzy Solidor, a nightclub vocalizer at the Boîte de Nuit, whose portrait she later painted.^[46]

Kizette rarely saw her mother, but was immortalized in her paintings. Lempicka painted her but child repeatedly, leaving a striking portrait serial: Kizette in Pinkish, 1926; Kizette on the Balcony, 1927; Kizette Sleeping, 1934; Portrait of Baroness Kizette, 1954–1955, among others. In other paintings, the women depicted tend to resemble Kizette.

Legacy [edit]

American vocalizer Madonna is an admirer and collector of Lempicka'due south work.^[47] Madonna has featured Lempicka's piece of work in her music videos for "Open Your Centre" (1987), "Express Yourself" (1989), "Faddy" (1990) and "Drowned World/Substitute for Love" (1998). She as well used paintings by Lempicka on the sets of her 1987 Who'southward That Girl and 1990 Blond Ambition world tours.

Other notable Lempicka collectors include player Jack Nicholson and singer-actress Barbra Streisand.^[48]

Robert Dassanowsky's book Telegrams from the Metropole: Selected Poems 1980–1998 includes the poems "Tamara de Lempicka" and "La Donna d'Oro" dedicated to Kizette de Lempicka.

Lempicka'southward paintings are featured on the UK book covers of Atlas Shrugged and The Fountainhead by Ayn Rand.^{[49] [50]}

On xvi May 2018, in commemoration of the 120th anniversary of her nascency, Google made her the subject of the daily Google Doodle.^[51]

In July 2018, a biographical musical, Lempicka, premiered at the Williamstown Theatre Festival.^{[52] [53]}

Art market place [edit]

In Nov 2019 the Lempicka painting La Tunique rose (1927)^[54] was sold at Sotheby'south for $xiii.4 1000000.^[55] In February 2020, her painting Portrait de Marjorie Ferry (1932) fix a tape for a work past Lempicka by fetching £16.3 million ($21.two million) at the Impressionist and Modern Art Evening Sale at Christie's, London.^[56]

Notes [edit]

1. ^ Warsaw was then part of Congress Poland, under the control of the Russian Empire.

References [edit]

Citations [edit]

1. ^ Her full name according to Claridge (1999), p. 10; and Mori (2011), p. 22. Biographies by De Lempicka-Foxhall & Phillips (1987), Néret (2000), Blondel, Brugger, and Gronberg (2004), and Bade (2006) also requite her nascence proper noun every bit Tamara; some other sources say her birth name was Maria (e.yard., Helena Reckitt, The Fine art of Feminism: Images that Shaped the Fight for Equality, 1857-2017, 2018, p. 84.
2. ^ ^{a b c d} Néret (2016), pp. 27–31.
3. ^ ^{a b} Commire (2002).
4. ^ MacCarthy, Fiona (15 May 2004). "The good old naughty days". The Guardian. London. Retrieved 18 August 2014.
5. ^ Wróblewska, Magdalena. "Tamara de Lempicka". Culture.pl . Retrieved 18 August 2014.
6. ^ Vincent, Glyn (24 October 1999). "Glitter Art". The New York Times . Retrieved 18 August 2014.
7. ^ Claridge & Lempicka (1999), pp. 15, 377.
8. ^ ^{a b c d eastward f chiliad h i j k} Néret (2016), p. 93.
9. ^ Claridge & Lempicka (1999), p. 44.
10. ^ ^{a b} Claridge & Lempicka (1999), pp. 39–40, 53.
11. ^ ^{a b} Henderson (2005), pp. 106–109. sfnp mistake: no target: CITEREFHenderson2005 (help)
12. ^ Blondel, Brugger & Gronberg (2004), p. 131.
13. ^ Bade (2006), p. 27.
14. ^ Blondel, Brugger & Gronberg (2004), p. 17.
15. ^ ^{a b} Ader, Laura (2019). The Trouble with Women Artists: Reframing the History of Art. Paris: Fammarion. p. 73. ISBN978-two-08-020370-0.
16. ^ Mori (2011), p. 379.
17. ^ ^{a b} Lempicka-Foxhall (1987), p. 58.
18. ^ Noreen (2016), p. 93. sfnp error: no target: CITEREFNoreen2016 (aid)
19. ^ Néret (2016), p. 75.
20. ^ Architectures modernes; L'atelier de Mme de Lempicka, Georges Rémon, January 1931, Mobilier et Décoration.
21. ^ Lempicka-Foxhall (1987), p. 77.
22. ^ Néret (2016), p. 7.
23. ^ Vogel, Carol (5 May 2004). "Modern Art Does Well Every bit Auction Season Opens". The New York Times . Retrieved 13 May 2018.
24. ^ Bade (2006), p. 99.
25. ^ Adler, iv/2001, 31^{[ full commendation needed ]}
26. ^ Claridge & Lempicka (1999), p. 281.
27. ^ Mori (2011), pp. 322, 324.
28. ^ López, Tomas (2 August 2009). "Tamara de Lempicka y Víctor Contreras: una amistad interminable" [Tamara de Lempicka and Víctor Contreras: An Endless Friendship]. oem.com.mx (in Castilian). Retrieved 23 August 2016.
29. ^ "Tamara de Lempicka. 1972–1980". delempicka.org . Retrieved 13 May 2018.
30. ^ "Tamara de Lempicka (1898-1980)". www.christies.com.
31. ^ Blondel, Brugger & Gronberg (2004), p. 137.
32. ^ Review of Tamara in New York Times dated iii December 1987^{[ full commendation needed ]}
33. ^ "'The Last Nude': A Passionate Portrait of an Creative person and Her Muse". NPR. 31 Dec 2011. Retrieved 23 August 2016.
34. ^ "2013 Stonewall book awards announced". Archived from the original on 16 May 2013. Retrieved six February 2013. {{cite web}}: CS1 maint: bot: original URL status unknown (link)
35. ^ ^{a b} Lempicka-Foxhall (1987), p. 52.
36. ^ Néret (2016), p. 21.
37. ^ Phaidon Editors (2019). Neat women artists. Phaidon Press. p. 239. ISBN978-0714878775.
38. ^ Weidemann, Larass & Klier (2008).
39. ^ Bade (2006), p. 184.
40. ^ Bade (2006), pp. 103–104, 113.
41. ^ ^{a b} Néret (2016), p. 71.
42. ^ ^{a b} Bade (2006), p. 119.
43. ^ Brady, Helen. "The Raucous Life of Tamara de Lempicka: An Art Deco Icon". The Culture Trip. The Culture Trip. Retrieved 26 Oct 2016.
44. ^ Blondel & Brugger (2004), pp. 34, 42–43. sfnp mistake: no target: CITEREFBlondelBrugger2004 (help)
45. ^ "Famous GLTB". Archived from the original on 12 March 2007. Retrieved 17 March 2006. .
46. ^ "Lempicka, Tamara de (1898?–1980)". Archived from the original on i November 2014. Retrieved 3 Nov 2007. .
47. ^ Cross (2007), p. 47.
48. ^ Art, R.-atencio (12 October 2011). "Madonna, Barbra Streisand, & Jack Nicholson Collect Her". Retrieved 17 May 2018.
49. ^ "Atlas Shrugged". Penguin Books.
50. ^ "The Fountainhead". Penguin Books.
51. ^ "What to Know About Fine art Deco Artist Tamara de Lempicka". Fourth dimension. sixteen May 2018. Retrieved 21 Jan 2020.
52. ^ Wallenberg, Christopher. "In Lempicka, an artist who lives her life in bold strokes". Boston Globe . Retrieved 12 July 2018.
53. ^ Levitt, Hayley. "Eden Espinosa and Carmen Cusack Belt Well-nigh Art and Dearest in Lempicka". Theatermania . Retrieved xiv July 2018.
54. ^ "Tamara de Lempicka | LA TUNIQUE ROSE (1927) | MutualArt". www.mutualart.com.
55. ^ Westerby, Nick (14 November 2019). "Łempicka painting goes for eye-watering $13millioin at Sotheby's Auction". The Get-go News . Retrieved 2 Oct 2021.
56. ^ "Tamara de Lempicka (1898-1980)". Retrieved half-dozen February 2020.

Sources [edit]

• Aldrich, Robert & Wotherspoon, Garry, eds. (2002). Who's Who in Gay and Lesbian History from Antiquity to Globe War Ii. London: Routledge. ISBN978-0-415-15983-8.
• Bade, Patrick (2006). Tamara de Lempicka. New York: Parkstone Press. ISBN978-ane-85995-903-ix.
• Birnbaum, Paula (2011). Women Artists in Interwar France: Framing Femininities. Aldershot: Ashgate. ISBN978-0-7546-6978-4.
• Blondel, Alain (1999). Tamara de Lempicka: a Catalogue Raisonné 1921–1980. Lausanne: Editions Acatos.
• Blondel, Alain; Brugger, Ingried & Gronberg, Tag (2004). Tamara de Lempicka: Art Deco Icon. Royal Academy of Arts. ISBN978-1-903973-43-1.
• Blondel, Alain & Lempicka, Tamara de (2004). Tamara de Lempicka: Catalogue Raisonné 1921–1979. London: Purple Academy Books.
• Claridge, Laura P. & Lempicka, Tamara de (1999). Tamara de Lempicka: A Life of Deco and Decadence. Clarkson Potter. pp. xv, 377. ISBN978-0517705575.
• Commire, Anne, ed. (2002). "Lempicka, Tamara de (1898–1980)". Women in World History: A Biographical Encyclopedia . Retrieved 23 August 2016.
• Cross, Mary (2007). Madonna: A Biography. Greenwood. ISBN978-0-313-33811-3.
• Grosenick, Uta & Becker, Ilka (2001). Women artists in the 20th and 21st century. Taschen. ISBN978-3-8228-5854-7.
• Henderson, Andrea, ed. (1998). "de Lempicka, Tamara". Encyclopedia of World Biography. Vol. 24 (2d ed.). Detroit: Gale Inquiry.
• Lempicka-Foxhall, Kizette (1987). Phillips, Charles (ed.). Passion by Design: The Fine art and Times of Tamara de Lempicka . New York: Abbeville Press. ISBN9780789205032.
• Mackrell, Judith (2013). Flappers: 6 Women of a Unsafe Generation. ISBN978-0-330-52952-5.
• Mori, Gioia (2006). Tamara de Lempicka (exh. true cat. ed. Milan, Palazzo Reale). Milan: Skira.
• Mori, Gioia (2006). Tamara de Lempicka. La Regina del Moderno (exh. cat. ed. Rome, Complesso del Vittoriano) (in Italian). Milan: Skira.
• Mori, Gioia (2011). Tamara de Lempicka the Queen of Modern: [exposition, Roma, Complesso del Vittoriano, eleven March - 10 July 2011]. Milano: Skira. ISBN 9788857209319.
• Néret, Gilles (2016). Tamara de Lempicka: 1898–1980, déesse de l'ère automobile [Tamara de Lempicka : 1898–1980, goddess of the automobile era] (in French). Taschen. ISBN978-three-8365-3225-9.
• Weidemann, Christiane; Larass, Petra & Klier, Melanie (2008). 50 Women Artists You Should Know . Prestel. ISBN978-3-7913-3956-6.

External links [edit]

• Webpage of the Family unit of Lempicka / Official
• The Consummate Works of Tamara de Lempicka
• Tamara Łempicka (Tamara De Lempicka), Culture.pl
• Tamara Łempicka's Art Deco Legacy, Culture.pl
• 14 Nearly Expensive Auctioned Artworks from Poland, Culture.pl

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