Tamara Dempica, Polish sexist painter

Tamara (1May 199816-1March 1980 18) was born in Warsaw, Poland. She briefly moved to a noble family in St. Petersburg, where she married a famous Polish lawyer, and then they went to Paris together. She was active in1920s and191930s, and worked in France and America. Her most famous works are exquisite decorative art portraits with the theme of nobility and wealth, and highly stylized nude paintings. She became the queen of Paris in one fell swoop, and even Madonna was her fan.

She is the idol of decorative artists in the early 20th century. Her works are fashionable and bold, with a strong petty bourgeoisie. Personally, I like this style very much. Her decorative paintings are often used by designers in luxury houses, as the finishing touch in the space, with their own aura.

From the beginning, I studied under the cubist painter Andre? Lhote？ Where's Morris? Dennis studied painting, and before long, his first work was bought by a commercial gallery. Five years later, 27-year-old Tamara began to attract the attention of European art circles. Especially after her solo exhibition in Italy was a great success, Tamara, a "beautiful and cutting-edge female painter", became a star of Italian society overnight.

Tamara became famous when she was still smart. Orders flew like snowflakes to her studio in Paris, including exiled Belarusian aristocrats, American millionaires, Spanish kings and Greek princesses ... In the upper class of Europe and America, having a portrait signed "Lempicka" became a symbol of identity and taste. Whenever night falls, tireless painters in heavy makeup wear noble evening dresses to shuttle through various salons and parties, go home in the early morning, work until dawn, and then fall asleep.

Her female portraits with strong decorative lines, rich colors and strong sensuality violently impact people's vision and senses; The painter's almost paranoid personality and shocking beauty are praised by the world together; Portrait photography of the painter hanging in the window of the bustling commercial street is dotted with the highest fashion of that era: tall and strong women have smooth skin and a mysterious expression in their slightly tired eyes, which is a bit like greta garbo in Hollywood; Most importantly, a burning cigarette inadvertently caught between jade fingers revealed important information-it was a truly decadent era.

Portrait of His Royal Highness Aristov, an exiled Belarusian aristocrat (oil on canvas, 65×2300px, 1925)

Portrait of only child (oil painting on canvas,116×1825px, 1927)

Tamara herself once said that "every painting is a self-portrait" when talking about her own creation, and she has a deep understanding of herself and her own art. Tamara's artistic creation goes further, and a narcissistic plot of her own body is too strong to be resolved. This narcissism is so strong that it sometimes reaches the level of self-worship. She is good at discovering her own beauty from models and pouring a fatalistic impulse from her body on canvas.

The heyday of Tamara's creative career is only about ten years, that is, from young women under 30 to middle-aged women around 40. When painters began to feel the gap between the young and energetic bodies of the models and their aging bodies, it was not difficult to imagine their gloom. Perhaps because of this, Tamara's later works are obviously far away from the vivid and dazzling functional colors that are common in her early works, and replaced by a kind of girlish purity and tranquility; In the past, the bright, sexy and tender skin color laid out on canvas has gradually become a more natural makeup color, and even the rose red that I loved in my early years is rarely used. Tamara suddenly became old and her desires became indifferent.