Summoned by a wealthy American, Rufus Bush, to paint a portrait of his fiancée, De Lempicka made her first trip to New York. An article published two years earlier in Vanity Fair had prepared America for her arrival. She produced a number of paintings while there, including some studies of skyscrapers. She held exhibitions simultaneously in Poland (winning a bronze medal at the International Exhibition in Poznan), Paris (in four Salons and the Galerie Colette Weil) and the United States (at the Carnegie Institute, Pittsburgh).

These were the years of Lempicka's greatest success. The museum of Nantes acquired her "Kizette in Pink" (B.81), and a number of rich collectors commissioned portraits - their own, of course, but also that of a wife and daughter for one, or of a mistress, for the other. At the peak of her talent, Lempicka was able to make the most of her feminine models, enhancing their charms with signs of the new spirit of the times. She thus imbued them with elegance and supreme nonchalance, sensuality and throbbing vitality. The portraits - and even the still lifes - belonging to this period convey contagious optimism in a triumphantly youthful and modernist vein. Success lent Lempicka wings, encouraging her to work and exhibit tirelessly. By now, she had found a certain signature style: a highly original, and effective, synthesis of Mannerism and toned down Neo-Cubism. This style was so well matched to the era that, in retrospect, it can be termed as emblematic of it.