Annie's Music
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Annie's Music Your Sheet Music Superstore
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“Les Lapins
II” “The Rabbits
II” by
Tamara de Lempicka Inscriptions: LEMPICKA (dans
un cartouche, en haut a droite) Huile sur toile,
54 x 73 cm, 21 ½” x 28 ¾” Provenance: Succession
Lempicka Literature: Blondel,
Lempicka Catalogue
Raisonne 1921-1979, 1999, n°
B.432 p. 403 Excerpt from “Passion by Design: The
Art and Times of Tamara de Lempicka” By Baroness Kizette de Lempicka-Foxhall as told to Charles Phillips In 1961, the
well-known French art critic, Michel Georges-Michel received an invitation from
Tamara de Lempicka when she was on a visit to Paris.
“Indeed”, he wrote later: “She had reversed her palette, and lived
(for) years studying, looking for new values, discovering unknown depths, and
now it had happened, after so many years of hard work, an unexpected reaction
from this artist who had lived by her violent impulses, side by side with her
older works, so brutal in their contours, Tamara is showing today the most
delicate, most subtle emotions of her “soul today”.
In contrast with the rude precision of her portraits, the unshakable
logic of her abstractions, Tamara de Lempicka has reversed to barely a
suggestion of line, a smudged contour, barely a color:
Those paintings are almost pastel in color and remind one of the
partially erased and yet to intense frescoes on the walls of Pompeii.” And just how badly
she wanted to be rediscovered, just how badly she wanted to be once again in the
public eye, she proved when she now gave up her palette-knife paintings, even
though a year after the Knoedler spurned them, the French government acquired
all twenty- one of the paintings to have been exhibited and placed them in the
prestigious Musee Georges Pompidou in Paris. Excerpt from “Tamara de Lempicka – A Life of Deco and Decadence” By Laura Claridge Tamara had, publicly
at least, forsaken her experiments with abstract geometrics.
When (he) commented that “this isn’t like your other stuff”, she
responded, “I am an experimenter; I’ve always been an experimenter,
everything I have done is an experiment.”
Possibly she was now exploring a way to combine her earlier Cubist lines
with both her abstract paintings of the 1950’s and her new fresco-inspired
works. …. It was typically
young artists, not those at the far end of their career, who were working with
palette knives All images © 2004 Art Du Monde Foundation. Unauthorized reproduction and use without permission is strictly prohibited.
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