Welcome A beautiful performanceObserver highlights a recently opened museum exhibition in a museum not in New York City, and places we know and like have attracted a lot of attention.
Something tells me that decorative artwork will survive any wave of art censorship that may or may not be radiated from the U.S. government in the future. Regarding a work that can be used to illustrate the cover of Ayn Rand's novel, it's so American. The lasting aesthetics of that era even led to new versions of music The Great Gatsby On Broadway, influencers receive hand-read readings for “Gatsby” or “Daisy”. Maybe I'll see them be someone who says “Jordan Baker”.
Others who might be considered the team are artist Tamara de Lempicka (1894-1980), whose performance of the same name at the Museum of Fine Arts was the first major museum survey in Houston. The show, from the Museum of Fine Arts in San Francisco, explores the harsh, sensual style of the Polish painter in her career, amplified her in her roaring twenties and eventually entered the 20th century’s big wall, World War II.
Lempicka's aesthetic is so related to the nature of decorative art that pictures of her work may exist next to the definitions of certain dictionaries. take Portrait of Ira P. (1930), in which many of our heroines lean against the wall. It's hard to say whether she wants to break through or support it like a column. Her rich thighs resemble sculptures from Greek temples, and she holds a bunch of flowers that look like they are finished on marble.
“I have to have it,” Barbra Streisand, the painting’s one-time owner, wrote in the preface to the catalog, “because I’m designing a shade of gray, red and black for my decorative art studio in Beverly Hills. She looks perfect there.”
(Overall, the catalog is very good, reprinting Françoise Gilot's 1980 Vogue article in which she talks about Lempicka's proposal for uncommunicated friendship in Paris: “So much Slavic dynamic paralyzed me.”)
But this is not all senses that überfrauen looks sharp. There were many nudes in Paris in the 1920s. Although Lempicka does conceive with angels, we must praise her work with lighting and shadows. Her nude appears to see humans as spots of flesh, with men and women looking almost the same in the chest area. Everyone's clothes are more sexy in her work. How the topic you should see Portrait of Dr. Pierre Boucard (1928) Treatment of test tubes.
Her sexy sensuality has a heavy intensity that conquers potentially overwhelming environments, and by this indicator, the artist’s self-portrait is probably her sexiest work. Title My portrait (Tamara of Green Bugatti) (1929), you have seen this image before. It is younger, just like geometry doesn't make much sense. The artist's eyes slid across the interior of the car, passing through the audience, to something far away, something that needs to be conquered. Less than a quarter of the portraits are for the skin, but that's not about the desire to merge with the technology. There is no ambiguity for who is driving this car.
“Tamara de Lempicka“ exist Houston Museum of Fine Arts By May 26, 2025.
