Address: 7 rue Méchain, Paris 14e
In January 1931, a lengthy article by Georges Ramon, entitled "Architectures modernes - L'atelier de Mme. de Lempicka", appeared in the journal Mobilier et Décoration. In it, the author describes Lempicka's studio in detail (10 pages, 15 photographs by Gravot). The studio atmosphere comes across succinctly in the telegraphic-style caption to the first photo: "Entrance hall, by Adrienne Gorska. Iron and chrome-tube door, harmony in cold gray and metal." This description set the pitch for a studio as reductivist as a working drawing...
An article by Darnetal in the December issue of Notre Temps, faithfully reflects the party mood at Lempicka's brand new studio in the building designed by the architect Robert Mallet-Stevens in 1929:
"La Santé (trans. note: the prison) - a sad and somber mass - rises up in this neighborhood that retains a certain gallows humor of yore.
Next door, a modern building soars gaily and a bit fiercely skyward. Cars come to a stop: some boys and pretty young women step out and proceed up to the painter Tamara de Lempicka's studio, where the hostess lends her charm, smile, and several other attractions to the cocktail party.
An atmosphere of intimacy and talent is exuded by this magnificent studio all in gray and platinum, the color tones of the latest in hair styling. Paintings by the hostess hang from, or stand against the walls, catching the eye and piercing the heart of all who gaze upon them. Tamara de Lempicka has her own, altogether personal and special, brand of talent. She dives deep into her models, in the fashion of a sea diver seeking rare pearls, and comes back up with pearls, gems, emeralds... or toads!
Tonight's occasion is focused entirely on diamonds. The agreeable and turbulent assembly gathered together bespeaks perfect, and rare, elegance: most of the women are beautiful (following in the footsteps of their hostess). Some of the men are intelligent and particularly talented. The Countess of Saint-Quentin can be seen nibbling the petits-fours offered to her by the artist-photographer Lipmtzki, while Doctor Boucard seeks to convince her that all food should be replaced by a few Lactéol pastilles! The ravishing Ira Perrot speaks of travels, Kisling of more or less "juicy" matters. Campana, leaning against the bar railing, rolls back his sleeves in praetorian fashion and begins his plea, as if in the Law Courts. André Lhote speaks only in aphorisms. Michel Georges-Michel, who just got back from his "La Bohème" is happy to be in the swing of things again. Marcel Rochas keeps track of his wife, the painter Rina, casting a loving glance in her direction. Rolf de Maré is lost in thought over his Swedish ballets, while taking in the Hindu ballets. Suzy de Solidor dreams about her dance hall, and so forth.
And Mrs. Nyoka Inyoka (DOC.87), surrounded by her corps de ballet, mimics strange and tricky figures. On the basis of ancient rhythms, she evokes and reconstitutes ancient India... Dances that are like incantations, music that breaks the heart.
In one corner, a strange and fascinating portrait of Mrs. Ira Perrot, looks out at us with a troubling expression imbued with legendary beauty, while further off, Tamara de Lempicka contentedly contemplates her work and works."
Twenty-seven years later, in the Art et Décoration review, Boris J. Lacroix describes the radical change recently imposed by Lempicka on her rue Méchain studio ("Tamara de Lempicka or the Woman Set Up by the Painter", December, 1956). Mention is made of "the exquisite play of bad taste", and "a taste for paradox" that had inspired her. Which is the least one could say in the face of the anachronistic Venetian stucco work that had suddenly been allowed to spread across the pure lines designed by Mallet-Stevens.

In 1934, Jacqueline d'Hariel directed the Galerie du Cygne, where only works by women painters were exhibited. Above all, however, she was a journalist: her articles on Lempicka were always informal and friendly, as if reflecting a mutual understanding between herself and the artist. For instance, she gives a gossipy description, in the 19 May 1932 Les Annales Coloniales, of one of Lempicka's cocktail parties at her rue Méchain studio (see "The studio on RUE MECHAIN"). Or, in the 10 December 1932 Les Nouvelles Littéraires, she reports on another dazzling and highly cosmopolitan social gathering, again in the artist's studio (listing, among the guests, Countess d'Orsay, Doctor Boucard, Rolf de Marée, Prince Eristoff, Miss de Panassieu, Michel Clémenceau, Jacques Ripert, and Nyoka with her dancers, etc.). In November of 1933, in an article for Une Semaine de Paris, D'Hariel gives an account of still another reception, where the guests included Van Dongen, Kisling, André Lhote, and, as always, the dancer Nioka Inyoka (sic), the critic Michel Georges-Michel, and others. Finally, in the December 1933 issue of the same magazine, she writes about the reception Lempicka set up, in her studio, for Castelbarco: an event occurring eight years after the guest of honor himself had welcomed Lempicka to his Milan gallery (see "Count Emanuele de CASTELBARCO").