Printemps 1928

Tamara de Lempicka made Printemps with oil on canvas. The way she uses the paint, so sleek and almost machine-like, makes you wonder about process. Is it hidden, or part of the show? Look at the way the light hits the figures. It's like she's sculpting with light, turning skin into something almost metallic, but not quite. And those sharp, clean lines—they cut through the softness of the flesh, giving it this cool, detached vibe. There’s a real tension between the smoothness of the surface and the sensuality of the subject. Take the face of the woman on the right, the paint is built up, layer by layer, creating the perfect look. De Lempicka’s work reminds me a bit of Fernand Léger, same love of hard-edged forms, but with this added layer of glamour and intrigue. What’s so interesting is that she allows for different readings. There's no one right way to see it.