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Additional Information “Portrait of the Duchess of La Salle”

“The Duchess of La Salle sits for De Lempicka the way a queen sits for a court painter — knowing the portrait will outlast them both.” — Art Deco: Splendour and Style

“De Lempicka understood that her portraits were not records — they were constructions of identity, as deliberate as armour.” — Gagosian Gallery catalogue, 2011

#1. Aristocratic Patronage. De Lempicka’s clientele included members of the European nobility — the Duchess of La Salle being among the most distinguished. These aristocratic commissions gave her work a social cachet that reinforced her position as the fashionable painter of the age.

#2. The Art Deco Palette. De Lempicka’s characteristic palette — cool silvers, steely blues, ivory skin tones set against clouded or geometric backgrounds — was drawn partly from the metallic surfaces of contemporary luxury design and partly from her training under Lhote.

#3. Retrospective Glory. After decades of neglect following her emigration to America and subsequent moves to Mexico and Houston, De Lempicka was rediscovered in the 1970s — her work aligning perfectly with the revival of interest in Art Deco that followed the 1972 Deco exhibition at the Minneapolis Institute of Arts.