Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.

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.