Madonna and Barbra Are Fans. Broadway, Meet Lempicka.

The playwright Carson Kreitzer specializes in difficult women, disparaged women, women who should be better known. But 14 years ago, when a friend suggested the painter Tamara de Lempicka as a potential subject, Kreitzer wasn’t initially enthusiastic. The name meant nothing to her.

Then in a used bookstore, a cover with Lempicka’s name caught her eye. Flipping through the monograph, image after glossy image, Kreitzer realized that she already knew Lempicka’s brash, gleaming work. She had seen it reproduced in Madonna videos and in Van Cleef & Arpels ads. There in that bookstore she felt compelled to write something as big, bold and richly colored as the paintings.

“Tamara made me a musical writer,” Kreitzer, who had never written a musical before, said in a recent phone interview. “She demanded it.”

After years of development, “Lempicka,” a biomusical by Kreitzer (book and lyrics) and Matt Gould (book and music), opens on April 14 at Broadway’s Longacre Theater. It is a work of recuperation, aiming to restore the reputation, in life and art, of a queer woman and an ambitious painter, who has often been undervalued, in the art market and beyond.

“She wanted everything,” Rachel Chavkin, the musical’s director, said of her heroine. “She wanted more from life and ultimately life lost interest in her.”

When it comes to reclaiming Lempicka, the musical is not alone. A concurrent selling exhibition at Sotheby’s, “The World of Tamara: A Celebration of Lempicka and Art Deco,” features several of Lempicka’s paintings, including “L’Éclat,” a portrait of a woman, her hair coiled like strips of film, and “Nu aux Buildings,” a sensuous nude backed by skyscrapers. This fall, San Francisco’s de Young museum will host the artist’s first major museum retrospective in the United States.