Tamara de lempicka short biography
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Born Tamara Rosalia Gurwik-Gorska in in Warsaw, Poland (then a sovereign state of Russia), Tamara de Lempicka has come to be recognized both by her epithet, “Baroness with a Brush,” and as icon of the Roaring Twenties. As the daughter of wealthy parents, she was sent to Lausanne, Switzerland, to attend boarding school as a child—an experience she despised. During the summer of one of her final years in Lausanne, however, her grandmother took her on a tour of Italy, where she first witnessed the work of Old Masters, an encounter that would ultimately inspire her life-long passion for art.
After the divorce of her parents, she was sent to live with an aunt in St. Petersburg; her aunt was considerably wealthy, and it was here that de Lempicka developed her taste for luxury living. At 18 she was wed to Tadeusz Lempicki, but within a year of their marriage the Russian Revolution forced the newlyweds to relocate to Paris—in a bid to reinvent herself in the
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Born of a Russian Jewish father and a Polish mother, Tamara de Lempicka spent her childhood in St. Petersburg, Warsaw, and Lausanne. She maintained memories from her childhood of a life of a privilege, punctuated by prestigious soirées in the company of the cultured Saint Petersburg nobility. Shortly after her marriage in to the Polish lawyer Tadeusz Lempicki, she saw the easy happiness for which she was destined swept away by the October Revolution. Forced to flee the Bolshevik regime, the couple ended up in Paris, where Lempicka had to sell her jewelry to survive. She divorced her husband in in order to marry the baron Raoul Kuffner in In Paris, she frequented the ateliers of Maurice Denis and André Lhote. She came into her own style around , when, encouraged by Count Emanuele di Castelbarco, a Milanese gallery owner, she painted 28 new paintings in six months, including thirty which were shown at the Bottega di Poesia gallery in Milan. Quickly becoming one of the m
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Summary of Tamara de Lempicka
Tamara de Lempicka was the lone traditional easel painter in the entirety of the Art Deco style. Her sources of inspiration ranged dramatically: she adored Italian Renaissance painting; she was characterized by critics as a sort of modern-day Ingres, although the comparisons were more often not intended to flatter; she absorberad the avant garde art of the era - particularly post-cubist abstraction but of a "softened" style. Perhaps most influential was Lempicka's desire to capitalize on her social connections to create a niche for her portraiture, which most often featured well-to-do, cosmopolitan types. The Art Deco style, lavish in a less visually complex way than its predecessor, Art Nouveau, was probably the ideal vehicle for her trendy style. Most notably, despite its decorative quality, her work provided her with an outlet for unconventional self-expression: truly a product of her era, the libertine golden age between the two world wars, Lempick