Lempicka (1898-1980) Born into the wealthy Gorska family in Poland, Warsaw. Tamara De lempicka was the middle child of four. She had an older brother named Stanczyk Gorski and a younger sister Adrienne, who were both bossed around by their tempestuous sister. Her father who was an attorney for a French trading company and her mother who was a well educated aristocrat had properly brought up Tamara and her siblings. However, around the age of 12-13, the Gorska family split up, sending Tamara
referred to as ‘Soft Cubism’ [http://www.allanstoneprojects.com/artists/tamara-de-lempicka]. The cubism influence in her work creates a strong sense of depth, the tone creating something that is almost three dimensional. It makes her art seem real as if the figure actually exists within the painting. This does indeed set her apart from other artists, it is clean and crisp and perfect. A different style entirely to Schiele. Tamara de Lempicka’s use of colour again contrasts that of Schiele. Her style
florist shops or on artist canvases the calla lily became a recurring theme. Like many flowers before it the calla lily came to be more than a flower on its own but it represented the idea of femininity. The calla lily was used by artists such as Tamara de Lempicka, Diego Rivera and Georgia O’Keeffe as a symbol of femininity and feminism. Through examining their works, in relation to their own lives and the events of the day, I will explore how the calla lily came to represent a new type on femininity
Women of the 1920s developed a new mindset as a result of embracing flapper-dom, while some presented an attitude apparent in many women today. Although the idea of defying social norms enticed the foolish women to become reckless and irresponsible, a few resourceful individuals took advantage of the change and pursued a more independent route. The individualistic motivation that women extracted from flapper-dom during the 1920s was a stepping stone for a more bright and promising future. Young
While a lot of her common work was depicting the wealthy, she also had other projects of artwork that showed various anonymous women that were posed erotically and often portrayed an exaggerated form of femininity. Lempicka was openly bisexual and was very proud of her sexual endeavours, especially with women — as present in her work. Due to the nature of her work, it has often been misinterpreted as a piece created by a man, and so seen as “[an] icon of women's disempowered