The point of focus was the colour, geometry, sharpness and style. The Young Lady with Gloves was painted at the height of the revolution in 1929/30. It is done on canvas using oil. The painting is the image of a young beautiful girl in a stylish green sleeveless dress. Her pose is spectacular to allow the painter to capture the best of her. Both her arms are in white gloves with her right hand resting on a hat as part of the pose. The attention to detail is vivid in the design of the dress, the colour mix and the skin tone. She could easily pass as the daughter of a wealthy Lord, a model or a princess.

The background is dim to ensure the foreground is visible. The choice of colour, clothing and personality points at modernity as a factor in this era. The painting appeals to emotions as compared to the mind which is the bottom line in the majority of the art pieces done by Tamara. Other paintings done around the same time are proof of this analogy. The Blue Woman with a Guitar (1929), Self Portrait in Green Bugatti (1929), Woman in a Yellow Dress (1929), Portrait of Madame M. (1930) and The Girls (1930) is a clear indication of the use of colour, style and geometry in her painting.

Started in France in the mid-1920s, this style was synonymous with architectural drawings and visual arts. When the pioneer artists incorporated it into painting, it brought out luxury, exuberance and technological impressions. This style of art was popular with the aristocrats, which explains why the majority of Tamara’s works are portraits of influential people in Europe. Others in this field included Maurice Denis (her tutor) and Andre Lhote. The Young Lady with Gloves was first purchased by the Museum of Luxembourg. It has since exchanged hands severally but is currently housed at the National Museum of Modern Art, Center Pompidou, Paris-France.