If we don't know who Tamara de Lempicka's model is here, we can't help but think of the interwar cinema icons such as Marlene Dietrich and Greta Garbo, whom the painter admired. Glamorous posing and make-up, femme fatale dresses, white gloves and hats, projector lights that illuminate the skin: it's all there!
Tamara's fascination with cinema was shared by her sister Adrienne, Ada de Montaut, an architect specializing in the creation of projection rooms.

Tamara de Lempicka is an ambitious artist: "I want one of my works to stand out from a hundred others at first glance. And indeed, her cubist-inspired Art Deco paintings (Tamara was a pupil of André Lhote) are easily recognizable by their vivid colors, sublimated by the play of light and geometric shapes. Observe the conical shape of the breasts or the curls of the hair.

But what's even more astonishing is that this emblematic artist of the Roaring Twenties, this woman so modern in her painting and in the freedom of her morals (she drives, sits alone at café terraces and flaunts her mistresses), is just as inspired by the mannerism of Botticelli. In fact, isn't this painting a new "Birth of Venus"? Admittedly, this blue-eyed blonde, like her Italian model, has redder lips and fuller curls. But isn't it the same wind that drives both canvases? The girl in green has to hold on to her hat lest it fly off. Above all, Tamara de Lempicka gives her model the same pose, the contrapposto, which brings the figure to life with a skilful twist of the body. Yes, but Venus is naked, you might say. And yet this dress reveals the model's body more than it hides it, from the tips of her breasts to the hollow of her navel. And it's the same hand that (modestly?) hides the sex...
Even the green of the dress evokes the background of Boticelli's painting.

With her young girl in green, Tamara de Lempicka proposes a rebirth of Venus, a modern-day Venus with the allure of a femme fatale and desires that carry with them the scent of scandal...