1990s Tamara de Lempicka Poster, L'Éclat, The Brilliance, 1932, Art Deco Nouveau cubism neoclassical style, exhibition, wall art decor

This Tamara de Lempicka is from the Eurographics in Canada proably some time in the 1990s/2000s featuring "L'Éclat" or "The Brilliance" from 1932. De Lempicka was known for her portraits of strong, independent, and glamorous women of the social elite, capturing the sophistication and modernity of the 1920s and 30s. The poster shows a young woman with auburn hair adorned with grapes and grapes hanging from her hair against a dark background, featuring dramatic lighting reminiscent of Caravaggio and the glamour of Hollywood.
Dimensions: 36 in x 24 in (91 cm x 61 cm)

Tamara de Lempicka, was a Polish painter who spent her working life in France and the United States. She is best known for her polished Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes.

Born in Warsaw, Lempicka briefly moved to Saint Petersburg where she married Tadeusz Łempicki, a prominent Polish lawyer, then travelled to Paris. She studied painting with Maurice Denis and André Lhote. Her style was a blend of late, refined cubism and the neoclassical style, particularly inspired by the work of Jean-Dominique Ingres. She was an active participant in the artistic and social life of Paris between the wars. In 1928 she became the mistress of Baron Raoul Kuffner, a wealthy art collector from the former Austro-Hungarian Empire. After her divorce from Łempicki in 1931 and the death of his wife in 1933, Kuffner married Lempicka in 1934, and thereafter she became known in the press as "The Baroness with a Brush".

Following the outbreak of World War II in 1939, she and her husband moved to the United States and she painted celebrity portraits, as well as still lifes and, in the 1960s, some abstract paintings. Her work was out of fashion after World War II, but made a comeback in the late 1960s, with the rediscovery of Art Deco.

What is special about exhibition and gallery posters is that they are an affordable way of getting good, unique art on the walls, as although it is not an artists original, neither is it something that has been mass reproduced.

Because of the age of these posters, there are areas of wear and tear, particularly on the edges. I have done my best to take photos where they are torn. The good news is that when framed, the tears press up well against glass, and edges can be hidden by mats. Any wear picked up from years are part of the charm.

These posters are sent as unframed. They are delivered in a cardboard tube for protection.

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