Tamara Łempicka: The Polish Contexts
Journal Title: Ikonotheka - Year 2015, Vol 25, Issue
Abstract
The fact that Tamara Łempicka was listed in the catalogues of the Paris Salons as a Pole evoked little interest in the research on her life and work. Neither has much attention been devoted to her links with the Polish artistic milieu in Paris during the period between the First and Second World War or to the fact that she displayed her work in the Polish sections of exhibitions held abroad. In the process of a detailed investigation, the author of the current essay attempts to reveal the importance of her relations with the Polish world of art. Among the most important, especially at the early stages of Łempicka’s career, was the role of the Polish art critic Woroniecki, as well as her forgotten friendships with Polish artists, such as the sculptress Maria Lednicka, who probably played a crucial role in arranging Łempicka’s fi rst solo exhibition in Milan in 1925. The article also offers a concise review of her contacts with the Polish members of artistic Paris of the 1920s and 1930s, and of Łempicka’s presence on the Polish artistic scene and in the press before, during and after the Second World War, although many other aspects still remain unexplored. In conclusion, it may be stated that the cosmopolitan nature that was characteristic of not only her work, but of her as an artist requires that studies concerning her go in diverse directions and cover various fi elds. The multiplicity of individual “national” and local visions that intersect and enrich one another will help to complete our knowledge of Tamara Łempicka by creating an even more credible and complete image of her. The aim of the current essay, however, was to demonstrate that the Polish context is an essential and integral part of her image.
Authors and Affiliations
Katarzyna Nowakowska-Sito
Keywords
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