Famous Quotes by Tamara de Lempicka

I have painted kings and prostitutes. I don't paint people because they are famous. I paint those who inspire me and make me vibrate.

I live life in the margins of society, and the rules of normal society don't apply to those who live on the fringe.

I was always dressed like a car, and the car like me.

I was the first woman to paint cleanly, and that was the basis of my success. From a hundred pictures, mine will always stand out. And so the galleries began to hang my work in their best rooms, always in the middle, because my painting was attractive. It was precise. It was 'finished'.

My goal is never to copy. Create a new style, clear luminous colors and feel the elegance of the models.

Among a hundred paintings, you could recognize mine, my goal was: Do not copy. Create a new style, ...colors light and bright, return to elegance in my models.

She is the most beautiful woman i have ever seen - huge black eyes, beautiful sensuous mouth, beautiful body. I stop and i say to her... Mademoiselle, im a painter and i would like you to pose for me. Would you do this?... Yes, come. My car is here.

Tamara on meeting Rafaela in the Bois de Boulogne

[They are]... boring people who wanted to be what they were not - he wanted to be a woman and she wanted to be a man.

Lempicka describing Gertrude Stein and Ernest Hemingway

Quotes about Tamara de Lempicka by Art Historians, Friends, Family and Fellow Artists

The Baroness with a Brush.

A label given to the artist by the media of the time

Madame took her protege through every museum she could find in Florence, in Rome, in Venice, always talking, instructing, pointing out the Renaissance masters, explaining the modelling of a cheek, the foreshortening of a hand, composition, chiaroscuro, impasto. It was a trip the young girl would never forget.

The artist's mother, talking of Tamara's trip to Italy with her grandmother in 1911.

What singular, happy contradictions enable her to convey the impression of such modernity (intense modernity, in my view), while using such purely classical resources? With the apparently chilly style that she sometimes pushes to extremes, by what means can she suggest feelings (not to mention sensations) that are generally connected with the opposite pole? How can she shift from the expression of sensual pleasure to the expression of chastity, unless of course we find it difficult to distinguish one from the other?

Arsene Alexandre