She returned to Italy to fulfil a number of commissions that followed her exhibition in Milan, and began a correspondence with the poet and politician Gabriele d'Annunzio, whom she had met through Castelbarco.

Early in her career, when she was twenty-seven, Lempicka could hardly help being flattered by the attention given her work by the swashbuckling Italian poet and political leader, Gabriele D'Annunzio. The two got in touch with each other immediately, but their's would not be a lasting relationship. In 1925, the year D'Annunzio visited Lempicka's Milan exhibition, the "Commandatore" was sixty-two, which may well explain Lempicka's resistance to the advances of the spendthrift erotomaniac, despite all the persuasive means at his disposal to seduce her. The two players each took up their stage role, participating in tireless and vaudevillian comings and goings lasting for several days. The prevarications of the << Polish woman>> were noted by the palace housekeeper (herself subjected to the poet lecherous advances, whose ardor she sought to quell) in a quite cruel series of diary entries. These writings were rediscovered around 1975, and, to the great displeasure of Lempicka, were published straight away by Franco Maria Ricci, in a luxury edition! In 1984, the same diary served as source material for a stage play entitled Tamara.