Tamara de Lempicka

The exhibition dedicated to Tamara de Lempicka - from March 19 in Turin in Palazzo Chiablese, and later in Budapest Hungarian National Gallery - presents some 100 works in a thematic of six sections (The worlds of Tamara; Still Life; Devotion; Portraits; Nude; Fashion) that will allow the public to learn about new aspects of life and work of the famous artist, whose works are universally recognized icons.
The exhibition is curated by G. Mori, sponsored by the City of Turin - Department of Culture, the Regional Directorate for Cultural Heritage and Landscape of Piedmont and the Polo Reale in Turin and produced by 24 ORE Cultura - Gruppo 24 Ore and Arthemisia Group.

The first section tells the reality of artist lived between two worlds, Europe and America, explored in a process that has its houses and paintings inspired by their interiors.
The first kind is devoted Lempicka is the still life: the second section documents his interest since the early years until the fifties; particular attention is paid to some works that are closely linked with contemporary photographs of Freund, Kertész, Kollar and Maar.
Women by nature ambivalent, to conduct unconventional equates interest unsuspected for painting "devotional" genre to which is dedicated the third section.
The fourth section focuses on the type that gave her the most successful: portraiture. For the first time will also be exhibiting some of his pictorial sources (for example, a watercolor by Hayez), compared with studies of the artist that reveal his passion for ancient art. Three aspects are analyzed in particular: the portraits of the "amazones", ie lesbian friends, confronted with photographs by Brassai; those dedicated to her friend Ira Perrot, one of which (the Portrait of Ira Perrot with calle) is proposed in a production made in New York in 1933, thanks to documents recently discovered by the curator of the exhibition; and finally portraits for children, especially his daughter Kizette.
The section dedicated to the nude spread through exposure to an ancient antecedent (a table of half of the sixteenth century Florentine circle) to which he referred Lempicka, which gives rise to a number of spectacular paintings. This section includes a large number of designs and comparisons with photographs of Albin-Guillot and Brassai that make evident the search Lempicka on lighting and views from the photo studio.
The last section describes the ongoing relationship of Lempicka with the world of fashion. We will then his illustrations for magazines dating back to 1921, drawings, paintings and photographs of the artist, taken by leading fashion photographers of the period 1930-1950, from now on to Joffé in Maywald.
Two rare films of the thirties will move and relive the artist in the exhibition spaces.

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