Tamara de Lempicka and the changing aspects of femininity and masculinity
As the “Goddess of the Automobile Age”, Tamara de Lempicka (1898-1980) stood at the centre of the sophisticated Paris art world of the Twenties and Thirties. Her love for beautiful women, elegant automobiles and the modern metropolis provided not only motifs for her pictures, but also influenced her artistic style.
Simultaneously with her career as artist, Tamara de Lempicka pioneered a new image of life on the screen, evident in the new, self-confident woman and the changing aspects of femininity and masculinity. The same sense of style was reflected in a futuristic cult of speed, domestic design forms promulgated by the Bauhaus, and the dandyism of a George Brummell. Tamara de Lempicka’s best-known painting, “Self-Portrait, or Tamara in a Green Bugatti”, presents the artist as a female dandy brimming with cool elegance.
Whether as an Art-Déco artist, a post-Cubist or a Neoclasissist, de Lempicka struck the taste of a cosmopolitan (and wealthy) public that found its own image reflected in her work.
About the Series:
Every book in TASCHEN’s Basic Art Series features:
a detailed chronological summary of the artist’s life and work, covering the cultural and historical importance of the artist
approximately 100 color illustrations with explanatory captions
a concise biography
About the author:
Gilles Néret (1933-2005) was an art historian, journalist, writer, and museum correspondent. He organized several art retrospectives in Japan and founded the SEIBU museum and the Wildenstein Gallery in Tokyo. He directed art reviews such as L’Oeil and Connaissance des Arts and received the Elie Faure Prize in 1981 for his publications. Néret’s many titles for TASCHEN include Salvador Dalí – The Paintings, Matisse, and Erotica Universalis.