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拍品专文
Painted in 1925, Femme Assise marks a pivotal moment in Tamara de Lempicka’s early career, signifying the emergence of her distinctive visual language. Created during a formative period, the painting reflects Lempicka’s synthesis of academic training with a sensual, elegant aesthetic, laying the foundation for her rise as one of the most iconic female artists in the Art Deco period. Femme Assise offers a rare glimpse into Lempicka’s stylistic transition, showcasing the development of her linear, sculptural style and her fascination with structure.
Born in Warsaw and displaced by the Russian Revolution, Tamara de Lempicka arrived in Paris in 1918 and devoted herself to formal artistic training. She studied under Maurice Denis at the Académie Ranson and later with André Lhote at the Académie de la Grande Chaumière. By integrating Denis’s Nabis approach and appreciation for classical art with Lhote’s cubist structures and naturalistic sensibilities, Lempicka developed a distinctive visual language that fused tradition with modernity. Femme assise exemplifies this synthesis with its sensual monumentality, clearly defined form, and the dynamic interplay of geometric background and soft modeled figures.
Drawing from classical influences from the Renaissance, the works of Ingres, and the faceted forms of Cubism, Femme Assise embodies a unique aesthetic that resonates with the vibrant energy of the 1920s in Paris. The Art Deco style — with its geometric motifs and bold colors— emerged as the defining visual language of the period, a reflection of the era’s glamour, elegance and economic prosperity between the two World Wars.
Illuminated by light coming from the right, the sitter — with her classic Art Deco curly bob hairstyle — gazes firmly into the distance. This confident gaze evokes the defining spirit of the era: the emergence of the independent modern woman. She is dressed in a contrasting satin green dress that directs the viewer’s attention toward the lower portion of the composition. The greater volume in the lower part of the painting is demonstrated through the curve of the woman’s leg mirrors the chair leg—both rounded, fleshy, curvaceous, and smoothly rendered—creating a strong visual tension between the upper and lower sections of the painting, where geometric patterns in the upper section background and sculptural shading of the face introduce contrasting textures.
Femme Assise reveals an artist on the cusp of defining her signature voice—where restraint meets sensuality, and structure breathes life into form. With its balance of classical references and modern clarity, the painting encapsulates the tensions that would come to define Lempicka’s work: softness against precision, poise against power. It embodies an era’s shifting ideals of femininity, elegance, and artistic ambition. In this early composition, viewers witness not only Lempicka’s technical confidence, but also her instinct for timeless allure.
Born in Warsaw and displaced by the Russian Revolution, Tamara de Lempicka arrived in Paris in 1918 and devoted herself to formal artistic training. She studied under Maurice Denis at the Académie Ranson and later with André Lhote at the Académie de la Grande Chaumière. By integrating Denis’s Nabis approach and appreciation for classical art with Lhote’s cubist structures and naturalistic sensibilities, Lempicka developed a distinctive visual language that fused tradition with modernity. Femme assise exemplifies this synthesis with its sensual monumentality, clearly defined form, and the dynamic interplay of geometric background and soft modeled figures.
Drawing from classical influences from the Renaissance, the works of Ingres, and the faceted forms of Cubism, Femme Assise embodies a unique aesthetic that resonates with the vibrant energy of the 1920s in Paris. The Art Deco style — with its geometric motifs and bold colors— emerged as the defining visual language of the period, a reflection of the era’s glamour, elegance and economic prosperity between the two World Wars.
Illuminated by light coming from the right, the sitter — with her classic Art Deco curly bob hairstyle — gazes firmly into the distance. This confident gaze evokes the defining spirit of the era: the emergence of the independent modern woman. She is dressed in a contrasting satin green dress that directs the viewer’s attention toward the lower portion of the composition. The greater volume in the lower part of the painting is demonstrated through the curve of the woman’s leg mirrors the chair leg—both rounded, fleshy, curvaceous, and smoothly rendered—creating a strong visual tension between the upper and lower sections of the painting, where geometric patterns in the upper section background and sculptural shading of the face introduce contrasting textures.
Femme Assise reveals an artist on the cusp of defining her signature voice—where restraint meets sensuality, and structure breathes life into form. With its balance of classical references and modern clarity, the painting encapsulates the tensions that would come to define Lempicka’s work: softness against precision, poise against power. It embodies an era’s shifting ideals of femininity, elegance, and artistic ambition. In this early composition, viewers witness not only Lempicka’s technical confidence, but also her instinct for timeless allure.