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Woman Wearing a Shawl, in Profile
c. 1922
Oil on canvas, 61 × 46 cm
Barry Friedman Ltd, New York
According to Januszczak, de Lempicka did not arrive in Paris in 1919 as an innocent refugee from the Russian Revolution but on a sinister mission, intending “an assault on human decency and the artistic standards of her time”. One cannot help wondering what it was about de Lempicka’s art that should bring down upon it such hysterical vituperation. There is a clue perhaps in his waspish observation “Luther Vandross collects her, apparently. Madonna. Streisand. That type.” The hostility is perhaps more politically than aesthetically motivated and what really got under the skin of certain critics was the glamorous life style of Tamara’s collectors as well as of her sitters.
Bouquet of Hortensias and Lemon
c. 1922
Oil on canvas, 55.2 × 45.7 cm
Barry Friedman Ltd, New York
Both the place and the date of de Lempicka’s birth vary in different accounts. According to some, de Lempicka changed her birth place from Moscow to Warsaw which could be more significant. There has been speculation that de Lempicka was of Jewish origin on her father’s side and that the deception over her place of birth resulted from an attempt to cover this up. Certainly the ability to reinvent oneself time and again in new locations, manifested by de Lempicka throughout her life was a survival mechanism developed by many Jews of her generation. The prescience of the danger of Nazi Germany in a woman not usually politically minded and her desire to leave Europe in 1939 might also suggest that she was part Jewish. The official version was that Tamara Gurwik-Gorska was born in 1898 in Warsaw into a wealthy and upper-class Polish family.
The Fortune Teller
c. 1922
Oil on canvas, 73 × 59.7 cm
Barry Friedman Ltd, New York
Following three partitions in the late eighteenth century, the larger part of Poland including Warsaw was absorbed into the Russian Empire. The rising tide of nationalism in the nineteenth century brought successive revolts against Russian rule and increasingly harsh attempts to Russify the Poles and to repress Polish identity. There is little to suggest that Tamara ever identified with the cultural and political aspirations of the Polish people. On the contrary, she seems to have identified with the ruling classes of the Tzarist regime that oppressed Poland. It is telling that in 1918 when she escaped from Bolshevist Russia she chose exile in Paris along with thousands of Russian aristocrats rather than to live in the newly liberated and independent Poland. From what Tamara herself later said, she seems to have enjoyed a happy childhood with her older brother Stanczyk and her younger sister Adrienne.
Portrait of a Young Lady in a Blue Dress
1922
Oil on canvas, 63 × 53 cm
Barry Friedman Ltd, New York
The wilfulness of her temperament, apparent from an early age, was indulged rather than tamed. The commissioning of a portrait of Tamara at the age of twelve turned into an important and revelatory event. “My mother decided to have my portrait done by a famous woman who worked in pastels. I had to sit still for hours at a time…more…it was a torture. Later I would torture others who sat for me. When she finished, I did not like the result, it was not… precise. The lines, they were not fournies, not clean. It was not like me. I decided I could do better. I did not know the technique. I had never painted, but this was unimportant. My sister was two years younger. I obtained the paint. I forced her to sit. I painted and painted until at last, I had a result. It was imparfait but more like my sister than the famous artist’s was like me.”
Portrait of a Polo Player
c. 1922
Oil on canvas, 73 × 60 cm
Barry Friedman Ltd, New York
If Tamara’s vocation was born from this incident as she suggests, it was encouraged further the following year when her grandmother took her on a trip to Italy. Visits to museums in Venice, Florence and Rome lead to a life long passion for Italian Renaissance art that informed de Lempicka’s finest work in the 1920s and 30s. A torn and crumpled photograph of Tamara taken in Monte Carlo shows her as a typical young girl de bonne famille of the period before the First World War. Her lovingly combed hair cascades with Pre-Raphaelite abundance over her shoulders and almost down to her waist. She poses playing the children’s game of diabolo but her voluptuous lips and coolly confident gaze belie her thirteen years. It would not be long before she would be ready for the next great adventure of her life – courtship and marriage.
The Kiss
c. 1922
Oil on canvas, 50 × 61 cm
Private Collection
Played against the backdrop of the First World War and the death throes of the Russian monarchy, the story as passed down by Tamara and her daughter is, as so often in de Lempicka’s life, worthy of a popular romantic novel or movie. When Tamara’s mother remarried, the resentful daughter went to stay with her Aunt Stephanie and her wealthy banker husband in St. Petersburg, where she remained trapped by the outbreak of war and the subsequent German occupation of Warsaw. Just before the war when Tamara was still only fifteen, she spotted a handsome young man at the opera surrounded by beautiful and sophisticated women and instantly decided that she had to have him. His name was Tadeusz Lempicki.
Nude, Blue Background
1923
Oil on canvas, 70 × 58.5 cm
Private Collection
Though qualified as a lawyer, he was something of a playboy, from a wealthy land-owning family. With her customary boldness and lack of inhibitions, the young girl flouted convention by approaching Tadeusz and making an elaborate curtsey. Tamara had the opportunity to reinforce the impression she had made on Tadeusz at their first meeting when later in the year, her uncle gave a costume ball to which Lempicki was invited. In amongst the elegant and sophisticated ladies in the Poiret-inspired fashions of the the day, Tamara appeared as a peasant, goose-girl leading a live goose on a string.
A Street at Night
c. 1923
Oil on canvas, 50 × 33.5 cm
Private Collection
