Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides

Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
Tamara de Lempicka - Art History - Art Deco - Painting - 152 Slides
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This is a complete presentation about Tamara de Lempicka, the leading Art Deco painter. THERE ARE MANY ACTUAL SLIDES IN THE PREVIEW FOR YOUR REVIEW. THIS IS YOUR BEST GUIDE TO PRODUCT QUALITY.

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Excerpt: The Paintings
Kizette was Tamara’s daughter and Tamara painted her frequently. It was such a conflicted relationship that Tamara often painted her because she didn’t know what else to do with her. Tamara usually pushed Kizette off onto other relatives or into boarding schools. When together, she tried to pass herself off as Kizette’s sister so she herself didn’t seem “old.” She also sent mixed messages about Kizette’s age in the paintings.

Tamara challenged the limitations imposed on the art and life of a woman with her "Andromeda aka The Slave" painting. At the time, the painting was interpreted as being a muted complaint of a wife fettered by marriage chains, from which she awaits deliverance.

In her "Woman With Mandolin," Tamara blended classical and modern elements. The woman is like classical muses or Renaissance sibyls. Yet she is a modern woman with flapper bob, playing her music against the backdrop of skyscrapers.

Male artists often neglected the modern sensuality of the emerging woman. Tamara did not and that set her work apart.

In her painting of "Adam & Eve," Tamara broke with the long line of pastoral paintings of Eden. She modernized, even radicalized, the biblical theme. Originally, Adam was also to be shown from the front with his genitals visible. In the end, portraying the woman’s sexuality was more important to the artist.
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152 pages
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