200
200

PROPERTY FROM A NEW YORK COLLECTION

Tamara de Lempicka
NU ASSIS DE PROFIL
Estimate
400,000600,000
LOT SOLD. 400,000 USD
JUMP TO LOT
200

PROPERTY FROM A NEW YORK COLLECTION

Tamara de Lempicka
NU ASSIS DE PROFIL
Estimate
400,000600,000
LOT SOLD. 400,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

|
New York

Tamara de Lempicka
1898 - 1980
NU ASSIS DE PROFIL
Stamped T. de Lempicka (upper right)
Oil on canvas
32 by 21 1/4 in.
81.2 by 54 cm
Painted in Paris circa 1923. 
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Provenance

Galerie du Luxembourg, Paris (acquired by 1970)
Private Collection, France (acquired by 1978)
Sale: Boisgirard, Paris, June 26, 1991, lot 73
Private Collection, France (acquired by 1993)
Barry Friedman, Ltd., New York (acquired from the above in 1996)
Sale: Phillips, New York, May 11, 2000, lot 137
Acquired at the above sale

Exhibited

New York, Barry Friedman, Ltd., Tamara de Lempicka, 1996, no. 14 (titled Nude with Black Hair)
Tokyo, Shinjuku, Isetan Bijutsukan & traveling, Tamara de Lempicka, 1997, no. 4

Literature

Alain Blondel, Tamara de Lempicka, Catalogue raisonné, 1921-1979, Lausanne, 1999, no. B.19, illustrated in color p. 95

Catalogue Note

Lempicka's sleek representations of the female nude are renowned as emblems of the Jazz Age. Painted around 1923 in Paris, the powerful female figure in the present work resembles an Amazonian goddess perched on a stool in the artist's studio. Her powerful limbs extend beyond the boundary of the picture and the mechanized appearance and sturdy curvature of her body call to mind the Purist figures in Léger's seminal Le Petit déjeuner (see fig. 2). Unlike the more sterile renderings of her contemporaries in the 1920s, Lempicka's nudes channeled an unapologetic brand of female sexuality that few before her had dared to attempt.

On the occasion of a recent retrospective of the artist's work, Gioia Mori wrote the following about the novelty of Lempicka's nudes of this period, "...the nudes presented at the various Salons all had a Rubensesque exuberance of flesh, from those by Derain to those by Ottmann, to mention just the most illustrated in the various reviews. The nudes of de Lempicka, though, have peculiarities that the critics did not fail to point out: the perspectival distortion and the renditions of the flesh that, as the reviewer of Le Populaire wrote, was masterly. Gigantism and smooth, solid flesh as though cut from marble were the result of de Lempicka's study of sculpture. Among the contemporary models, the female nudes of Maillol were the closest to her own sensibility, demonstrating clearly the groin, the perfect curves of the thighs, and the rounded belly" (Gioia Mori, Tamara de Lempicka, The Queen of Modern (exhibition catalogue), Complesso del Vittoriano, Rome, 2011, p. 160).

Impressionist & Modern Art Day Sale

|
New York