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Formed by two successful avant-garde artists at the height of post-Cubist experimentation, Lempicka's work is nonetheless most often categorized as Art Deco. While her style incorporates the faceted geometric shapes of cubism, her emphasis on soft modeling achieves a more sensual effect. The bodies of his models are slightly distorted so that they appear as much as elegant works of art as as human figures. She incorporated the rich and limited palette of Art Deco - in particular, graphic design - to create refined portraits that look more like decorative art than high art.
Lempicka's lifestyle, in which she claimed her sexual freedom, made her something of a headache for feminist art historians. As she frequently portrays her lovers and other women - often in couples or groups - as reveling in their sexuality under the gaze of a female painter, it is possible to regard Lempicka as a kind of proto-feminism. Effectively, as a female painter depicting the female nude, she reversed the conventional arrangement in which a nude woman is displayed exclusively for the visual pleasure of the male viewer. The result is a kind of egalitarian voyeurism. The caveat may be, however, that as a member of the upper class, Lempicka's freedom was more easily attained and forgiven.
The glossy surfaces of his sultry portraits pay homage to the decadence of the jazz and flapper age after the deprivations of World War I. She was one of the favorite artists of the wealthy and socialites of her time, her popularity continuing with celebrities such as Madonna, Jack Nicholson and Barbra Streisand appreciating her crisp lines and bold statements of a bygone age.
Tamara de Lempicka was the only traditional easel painter in the entirety of the Art Deco style. Her sources of inspiration were varied: she adored Italian Renaissance painting; she was characterized by critics as a kind ofIngres of modern times, although the comparisons are most often not intended to flatter; it absorbed the avant-garde art of the time - in particular post-cubist abstraction, but in a "mellow" style. Perhaps the most important characteristic was Lempicka's desire to exploit his social connections to create a niche for his portraits, which most often featured affluent and cosmopolitan types.
The Art Deco style, sumptuous in a less visually complex way than its predecessor, the Art Nouveau, was probably the ideal vehicle for its on-trend style. Above all, despite its decorative quality, her work provided her with an outlet for an unconventional self-expression: truly a product of her time, the libertine golden age of the interwar period, Lempicka, a bisexual, has dared to make female sexual freedom the backbone of his art.
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