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Femme a la Mandoline (Woman with Mandoline)

Femme a la Mandoline (Woman with Mandoline), c. 1930 by Tamara de Lempicka is an etching and aquatint in colors, from the signed and numbered edition of 100. This Lempicka print Woman with Mandoline is signed and numbered at lower left. Blondel 152.

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 absorbed 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, Lempicka, a bisexual, made bold, liberated female sexuality the lynchpin of her art.

In both her life and her art, Tamara de Lempicka offered a new image of the modern woman: part jazz-age femme fatale, libertine and social climber, and part canny self-promoter, self-styled experimental artist and astute cultural and historical prognosticator. In many ways, Lempicka’s artistic output has been assessed as inseparable from her larger-than-life character and, more significantly, her gender. Her work, while arguably Cubist-inspired to an extent, exudes the lavishness of the decorative, just as do her sitters. Finding her niche – a comfortable place between traditional easel painting inspired by the likes of Michelangelo, Caravaggio, and Ingres and objects produced solely for decoration – Tamara de Lempicka’s Art Deco style has been an inspiration to figures as diverse as the singer and designer Florence Welch and fashion designers Karl Lagerfeld and Louis Vuitton.

Alt. Title

Woman with Mandoline

Medium

Aquatint, Etching

Year

c.1930

Edition

100

Catalogue Raisonné

Blondel 152

Signature

Signed

Size 26.5 x 17.75 (in)
67.5 x 45 (cm)
Price Price on Request
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Description

Femme a la Mandoline (Woman with Mandoline), c. 1930 by Tamara de Lempicka is an etching and aquatint in colors, from the signed and numbered edition of 100. This Lempicka print Woman with Mandoline is signed and numbered at lower left. Blondel 152.

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 absorbed 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, Lempicka, a bisexual, made bold, liberated female sexuality the lynchpin of her art.

In both her life and her art, Tamara de Lempicka offered a new image of the modern woman: part jazz-age femme fatale, libertine and social climber, and part canny self-promoter, self-styled experimental artist and astute cultural and historical prognosticator. In many ways, Lempicka’s artistic output has been assessed as inseparable from her larger-than-life character and, more significantly, her gender. Her work, while arguably Cubist-inspired to an extent, exudes the lavishness of the decorative, just as do her sitters. Finding her niche – a comfortable place between traditional easel painting inspired by the likes of Michelangelo, Caravaggio, and Ingres and objects produced solely for decoration – Tamara de Lempicka’s Art Deco style has been an inspiration to figures as diverse as the singer and designer Florence Welch and fashion designers Karl Lagerfeld and Louis Vuitton.

Additional information

Alt. Title

Woman with Mandoline

Medium

Aquatint, Etching

Year

c.1930

Edition

100

Catalogue Raisonné

Blondel 152

Signature

Signed

Size 26.5 x 17.75 (in)
67.5 x 45 (cm)
Price Price on Request