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Tamara de Lempicka was the only artist who adhered to traditional easel painting techniques during the entire Art Deco movement. Her sources of inspiration were diverse: she had a deep admiration for Italian Renaissance painting. Critics often compared her to the modern-day Ingres, although these comparisons were not always meant as compliments. She also drew influence from the avant-garde art of the time, particularly post-cubist abstraction, but with a more subdued approach. Lempicka's ambition to leverage her social contacts to establish a specialized market for her photography was highly impactful.
Her portraits primarily showcased affluent and sophisticated individuals. The Art Deco style, characterized by its opulence and simplicity compared to its predecessor, Art Nouveau, was likely the perfect medium for expressing her fashionable taste. Significantly, although her work had a decorative nature, it served as a means for her to express herself in an uncommon manner. Lempicka, who identified as bisexual, embraced and emphasized liberated female sexuality in her art, which was strongly influenced by the libertine golden age that occurred between the two world wars.
Despite being mentored by two accomplished avant-garde artists during the peak of post-Cubist exploration, Lempicka's artwork is primarily classified as Art Deco. Although her artistic approach includes the geometric and faceted shapes of Cubism, she focuses on creating a more sensual impact through the use of soft modeling.
The physical forms of the individuals she portrays are subtly altered, giving them the appearance of refined artistic objects rather than ordinary human beings. She utilized the opulent and restrained color scheme commonly associated with Art Deco, specifically in the realm of graphic design, to produce refined portraits that exuded an ornamental rather than a profound artistic quality.
Lempicka's unconventional lifestyle, characterized by her defiance of societal norms about sexual freedom, has been a perplexing challenge for feminist art historians. Given her frequent portrayal of her female lovers and other women, typically in pairs or groups, openly embracing their sexuality while being observed by a female artist, one may argue that Lempicka can be seen as a precursor to feminism.
Undoubtedly, by portraying the female nude as a female painter, she challenged the traditional practice of displaying a naked woman solely for the male viewer's enjoyment. The outcome manifests as a form of egalitarian voyeurism. However, it should be noted that Lempicka's membership in the upper class facilitated her acquisition of freedom and made it more readily excusable.
The lustrous exteriors of her alluring depictions are homages to the opulence of the jazz and flapper era, which emerged after the hardships of World War I. She was highly esteemed by affluent individuals and social elites during her era. Her appeal endures among contemporary celebrities, like Madonna, Jack Nicholson, and Barbra Streisand, who appreciate her distinctively precise strokes and audacious declarations that evoke a past era.