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moxyphinx · 1 day

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LEMPICKA, a new broadway musical

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victusinveritas · 7 months

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Tamara de Lempicka (Polish-born French American, 1898 – 1980) - Les deux amies (1930)

#tamara de lempicka #lempicka #art #just gals being pals #roommates #friends even #art history

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lempickathemusical · 27 days

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We do not control the world We control one flat rectangle of canvas at a time LEMPICKA (2024)

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polish-art-tournament · 1 month

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TAMARA ŁEMPICKA IS GETTING A MUSICAL????????????????

#HELLO????????#tamara łempicka #lempicka #what the. heck

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musicaltrash · 4 months

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livetweeting (live-blogging?) watching Lempicka the Musical so uhhh yea

#lempicka

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vicariousscrolling · 1 day

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the strange girl with the paintbrush.

#broadway #broadway musicals #musical fanart #lempicka musical #lempicka broadway #eden espinosa #tamara de lempicka #lempicka the musical #lempicka

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droughtofapathy · 5 days

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"Theatre critic circles are in desperate need of diverse voices, and these old white men cannot be the only arbiters of good and bad in the industry," and "it's not the feminist take you think it is to dismiss a show's negative reviews just because it's men who are raising the valid critiques you yourself see but can and will overlook because you're attached to a show you say is 'written for the girls, gays, etc." are two viewpoints that can coexist.

It might be easy to dismiss a male critic's pan of a show because it's meant for women. That's not feminism. That's gender essentialism. The show may be written for a queer female audience, but should queer women not also demand quality and cohesion in a show's book and score, or must we always be satisfied by the crumbs we are given? We should not be arguing that just because a show is geared towards a female audience, it must be above critique, or that the real and present flaws in the book and score are only important to men, and all women will like it anyway.

As a queer woman of color, had I been a critic, my review would have been mixed to negative just like all those men you dismissed because the problems do not change from a gendered perspective. The book is weak. The score disjointed. The protagonist watered-down. It's like the writers set out to say "it's a queer love story," but didn't do the work to delve any deeper, and hoped to carry the show on that alone. Queer stories deserve to be held to the same high standard as any other show, and boiling it down to "it's queer so you have to like it and critics are homophobic" is a ridiculous, immature, reductive statement.

#lempicka #broadway #this is about lempicka but also my main point stands with many recent pieces of media geared towards women #like the whole “can't criticize barbie” because it's for women and you're sexist if you hate it #or anyone who hates that blonde pop singer is misogynistic #no i just have fucking taste and want something better #and not to dismiss the single positive review (by a female critic) but like...look at the outlet #nytheatreguide isn't exactly where i'd go for quality reviews: it's more of a marketing site/press release than a news outlet #can't talk about this on the discord because it's like lecturing lemmings

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blackswaneuroparedux · 1 year

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

- Tamara de Lempicka (1898-1980)

The painter Tamara de Lempicka was nicknamed ‘the baroness with a paintbrush’. In the années folles between the two World Wars, she flitted between the Ritz Hotel in Paris and the Grand Hotel in Monte Carlo, socialising with - and capturing on canvas - her era’s elite. She counted Queen Elizabeth of Greece, King Alfonso XIII of Spain, and the Italian poet-prince Gabriele d’Annunzio among her sitters. As Jean Cocteau put it, Lempicka ‘loved art and high society in equal measure’.

She was renowned for an Art Deco style which oozed cool chic and elegant sensuality. Portraiture was her genre, featuring stylised subjects bedecked in seductive textures and bathed in flattering light. For some works, Lempicka used herself as model, which made sense given she wore clothes by Coco Chanel and was occasionally mistaken in public for Greta Garbo. ‘Among a hundred paintings,’ she claimed, ‘you could always recognise mine’.

#lempicka #tamara de lempicka #quote #polish #artist #french #paris #parisian #art deco #art #style #europe #france #beauty #arts #culture

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itsallmadonnasfault · 5 months

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