icka
© Parkstone Press International, New York, USA
© Confidential Concepts, worldwide, USA
© de Lempicka Estate / Artists Rights Society, New York, USA / ADAGP
© Denis Estate / Artists Rights Society, New York, USA / ADAGP
© Lepape Estate / Artists Rights Society, New York, USA / ADAGP.
© Dix Estate / Artists Rights Society, New York, USA / VG Bild-Kunst.
© Pierre et Gilles. Galerie Jérôme de Noirmont, Paris
© O’Keeffe Estate / Artists Rights Society, New York USA
© Lotte Lasterstein.
Introduction
Tamara de Lempicka in evening dress, c. 1929. Black and white photograph on paper, 22.3 × 12 cm.
Tamara de Lempicka created some of the most iconic images of the twentieth century. Her portraits and nudes of the years 1925–1933 grace the dust jackets of more books than the work of any other artist of her time. Publishers understand that in reproduction, these pictures have an extraordinary power to catch the eye and kindle the interest of the public. In recent years, the originals of the images have fetched record sums at Christie’s and Sotheby’s. Beyond the purchasing power of most museums, these paintings have been eagerly collected by film and pop stars.
In May 2004, the Royal Academy of Arts in London staged a major show of de Lempicka’s work just one year after she had figured prominently in another big exhibition of Art Deco at the Victoria and Albert museum. The public flocked to the show despite a critical reaction of unprecedented hostility towards an artist of such established reputation and market value.
In language of moral condemnation hardly used since Hitler’s denunciations of modern art at the Nuremberg rallies and the Nazi-sponsored exhibition of Degenerate Art, the art critic of the Sunday Times, Waldemar Januszczak, fulminated “I had assumed her to be a mannered and shallow peddler of Art Deco banalities. But I was wrong about that. Lempicka was something much worse. She was a successful force for aesthetic decay, a melodramatic corrupter of a great style, a pusher of empty values, a degenerate clown and an essentially worthless artist whose pictures, to our great shame, we have somehow contrived to make absurdly expensive.”
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.
Early Life
Portrait of Baroness Renata Treves, 1925. Oil on canvas, 100 × 70 cm, Barry Friedman Ltd., New York.
Tamara de Lempicka’s origins and her early life are shrouded in mystery. Our knowledge of her background is dependent upon some highly unreliable fragments of autobiography, and upon the accounts given by her daughter Baroness Kizette de Lempicka-Foxhall to de Lempicka’s American biographer Charles Phillips. De Lempicka was a fabulist and a self mythologiser of the first order, capable of deceiving her daughter and even herself. Much of her story as told by her daughter has the ring of a romantic novel or a movie script and may not be much more authentic.
Both the place and the date of de Lempicka’s birth vary in different accounts. There is nothing more significant in the changing birth dates than the vanity of a beautiful woman (in Tamara’s time female opera singers with the official title of Kammersängerin had the legal right in the Austro-Hungarian Empire to change the date of their birth by up to five years).
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. 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 live in the newly liberated and independent Poland.
The family of her mother, Malvina Decler, was wealthy enough to spend the “season” in St. Petersburg and to travel to fashionable spas throughout Europe. It was on one such trip that Malvina Decler met her future husband Boris Gorski. Little is known about him except that he was a lawyer working for a French firm. For whatever reason Boris Gorski was not someone that Tamara chose to highlight in her accounts of her early life.
From what Tamara herself later said, she seems to have enjoyed a happy childhood with her older brother Stanczyk and her younger sister Adrienne. 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.”
Peasant Girl Praying, c. 1937. Oil on canvas, 25 × 15 cm, Private Collection.
The Polish Girl, 1933. Oil on panel, 35 × 27 cm, Private Collection.
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. According to Tamara, she and her grandmother colluded to persuade the family that the trip was necessary for health reasons. The young girl feigned illness and her grandmother was eager to accompany Tamara to the warmer climes of Rome, Florence and Monte Carlo as a cover for her passion for gambling. The elderly Polish lady and her startlingly beautiful granddaughter must have looked as picturesquely exotic as the Polish family observed by Aschenbach in Thomas Mann’s novella Death in Venice. Visits to museums in
