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Unframed Matte Paper Prints: Delivered in the exact dimensions of the artwork on 280 gsm Artist Paper.
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Stretched Canvas: Ready to hang with neatly finished edges and solid wood support.
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Framed Prints: Professionally mounted in a premium wood frame with backing and wire installed.
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About this work
This portrait captures a woman mid-gesture, her name inscribed in the title like a calling card from 1920s Paris. Icart renders Conchita with the characteristic fluidity that defined his aesthetic: her form emerges through layers of delicate line and hand-applied color, the drapery clinging and shifting around her with an almost theatrical grace. The palette is restrained but luminous—soft peachy tones, cool silvers, a whisper of shadow—allowing the subject's expressive face and languid pose to command attention. She is neither posed for a formal portrait nor caught unaware; instead, Icart presents her in that suspended moment where personality radiates outward, a quality he pursued relentlessly in his best work.
By 1929, Icart had already secured his place as the defining visual voice of the era. *Conchita* arrives at the apex of his powers, when he had perfected the technique of etching and hand-coloring that allowed him to layer intimacy into print form. Unlike the fashion illustrators who flattened their subjects into decorative types, Icart infused individual presence into each figure. Here, Conchita becomes not a generic Parisian beauty but a specific woman—coquettish, aware, alive. The work sits squarely within his oeuvre of sensual portraiture while echoing the 18th-century masters he revered.
This print belongs in a room where light can catch its subtleties: a bedroom, dressing room, or intimate study where an evening mood prevails. It speaks to anyone drawn to the elegance and psychology beneath Art Deco's surface—those who recognize that the most enduring beauty contains both movement and stillness, style and soul.
About Louis Icart
Few artists captured the spirit of Jazz Age Paris quite like this French printmaker, whose drypoint and aquatint etchings of long-limbed women and their attendant whippets became shorthand for interwar glamour. Working between the wars from his Montmartre studio, Icart (1888-1950) refined a technique that combined etched line with hand-coloring, producing editions that hung in fashionable apartments from Paris to New York. He drew from the Art Deco vocabulary of speed, perfume, and silk, but his sensibility owed as much to eighteenth-century French boudoir painting. For collectors today, his prints offer something contemporary design rarely manages: unapologetic elegance with a wink behind it.
