During the 1950s What Type of Art Did Leger Expand Too
"Let us organize outer life in our domain: class, colour, light."
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"I sometimes ask myself what contemporary painting would be like without Cézanne... Cézanne taught me to love forms and volumes; he fabricated me concentrate on drawing. Information technology was then that I felt that drawing must be strict and absolutely unsentimental."
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"Abstract art came as a consummate revelation, and then nosotros were able to consider the homo effigy as a plastic value, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my work."
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"Let the states gaze wide-eyed at present-24-hour interval life, which rolls, moves, and overflows alongside us. Let us try to dam information technology upward, canalize information technology, organize information technology plastically. A huge job, but feasible. . . . The intensity of the street breaks i's fretfulness and drives i crazy. . . . Let united states of america organize outer life in our domain: form, color, low-cal."
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"To be gratuitous and yet not to lose affect with reality, that is the drama of that ballsy effigy who is variously called inventor, artist or poet."
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Summary of Fernand Léger
Though Fernand Léger built his reputation as a Cubist, his manner varied considerably from decade to decade, fluctuating between figuration and abstraction and showing influence from a wide range of sources. Léger worked in a diverseness of media including paint, ceramic, film, theater and dance sets, glass, impress, and volume arts. While his style varied, his work was consistently graphic, favoring principal colors, design, and bold form.
Accomplishments
- Léger embraced the Cubist notion of fracturing objects into geometric shapes, but retained an interest in depicting the illusion of three-dimensionality. Léger'due south unique brand of Cubism was likewise distinguished by his focus on cylindrical form and his utilize of robot-similar human figures that expressed harmony between humans and machines.
- Influenced past the chaos of urban spaces and his interest in vivid, main color, Léger sought to limited the noise, dynamism, and speed of new engineering and machinery often creating a sense of movement in his paintings that captured the optimism of the pre-Globe War I period.
- In its encompass of recognizable subject matter and the illusion of three dimensionality interspersed with or frequently simultaneous with experiments in brainchild and non-representation, Léger'due south work synchronizes the oft competing dualities in much of xxth-century art.
Biography of Fernand Léger
"I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of low-cal on the white metal. That'southward all it took for me to forget the abstruse fine art of 1912–xiii" Léger famously said of his experience serving in World State of war I. He went on to pioneer his distinctive visual idiom, painting "in slang with all its color and mobility" to take on a mod vibe.
Important Art by Fernand Léger
Progression of Fine art
1909-10
Nudes in the Forest
This painting was exhibited at the Salon des Indépendants in 1911 and is considered Léger'due south first major work showcasing his break from Impressionism and his brotherhood with Cubism, particularly in his monochromatic palette and his breaking of form into geometric shapes. Léger'due south focus on drawing and course rather than color also indicates his influence from Paul Cézanne. Léger's Cubism, however, was distinct from mainstream Cubism. Léger does not abandon iii-dimensionality and volumetric form to the same caste equally Pablo Picasso and Georges Braque whose canvases from this flow lack all just the merest illusion of infinite. Léger's interest in nature, his use of cylindrical form, and his focus on machine-similar forms further distinguishes his work from that of other Cubists, while the latter aligns him with Italian Futurism, reflecting the period's optimism well-nigh the benefits of urbanization and an industrialized society. These unique qualities led the critic Louis Vauxcelles to dub Léger's style as "Tubism."
Oil on canvas - Kröller-Muller Country Museum, Otterlo
1913
Contrast of Forms
Contrast of Forms was a championship given by Léger to a series of paintings completed between 1912 and 1914 in which the artist experimented with the boundaries betwixt brainchild and representation, flatness and three-dimensionality, issues that would occupy him throughout his career. Léger shows his ability to represent volumetric form without the illusion of three dimensions, abstracting both human and mechanical forms. The works exemplify what Léger referred to every bit the "police force of contrasts" in which the greatest opposition or racket in line, form, and colour are sought. Like Picasso and Braque in their Synthetic Cubist phase, Léger also brings color into these works, particularly blueish, red, and yellowish; these were typically added very sparsely only afterwards the line and without a polish cease. These paintings were the first non-representational works to emerge from Cubism and seem to burst with volume and pattern, while giving an overall impression of floating shapes on a apartment surface. The painting once again exemplifies Léger's unique contribution to Cubism in its utilize of shading to depict spatial recession and his reliance on mechanical forms.
Oil on sail - The Museum of Modern Art, New York
1917
The Card Players
Léger worked on this painting as he was recovering from a gas set on during World State of war I. The work shows the continuing influence of Cézanne, who painted several canvases devoted to this subject matter in the 1890s, likewise as Léger'southward burgeoning interest in the human figure afterwards the trauma of his war experience that gave him an appreciation for ordinary men and crude reality. In referring to the work in 1954, Léger says it was an attempt "deliberately to extract subject from the times" and indeed the helmets and medals of the men mark them as soldiers. His interest in discipline affair and three-dimensionality again sets him apart from other Cubists. His color palette remains largely primary and he continues to show his skill in depicting movement, which is highly advanced in The Carte Players every bit the piece of work about appears every bit a moving-picture show sequence.
Oil on canvass - Kröller-Muller State Museum, Otterlo
1919
The City
The Metropolis demonstrates Léger's interest in depicting the dynamism and dissonance of urban space rather than pictorial unity or a static image. His fascination with all things modern beyond conventional high fine art subject affair is axiomatic in the references to traffic lights, billboards, graphic design; he stated that he was specially influenced by the identify Clichy in Paris with its large posters. Besides obvious is a focus on other colors beyond the primary. He remarked on his use of color in this menstruation: "Color rushes in like a torrent. It swallows up the walls, the streets ... When one opens a window, a piece of shrill publicity blows in the air current ... Exuberance of color and dissonance." In The City colors play an equal office with form in depicting the chaos of the city; they collide as volumes and flat shapes both recede and motility forward in space, seeming to overlap similar pieces of a collage, giving the viewer the impression of standing on a busy, noisy street corner.
Oil on canvas - The Philadelphia Museum of Art - this image is only a item of the painting
1921
Three Women (Le Thousand Déjeuner)
This is one of Léger'southward best-known paintings. In it he retreats from the experimentation with dissonance and collage-like space that he utilized in The City. The work is a culmination of several interests in the previous decade with its depiction of three-dimensionality, its mechanical human being figures, and its main colors. The subject area affair of three nude women, notwithstanding, is one of the most traditional in the history of art. In part for this reason, the painting is often seen as a classic instance of what is known equally a "return to order" that was typical of many artists in the early 1920s as they retreated from some of their bolder pre-World War I experiments with form, space, and field of study matter. Though the subject field thing is non contemporary equally in The Card Players, Léger is not abandoning his interest in everyday people, just is instead responding to a civilisation-wide interest in past art with the re-opening of the Musée de Cluny and the expansion of the Louvre to include Egyptian and Assyrian rooms.
Oil on canvas - The Museum of Modern Art, New York
1930
La Joconde aux Cles (Mona Lisa with Keys)
This is one of Léger's nearly experimental canvases, one of the few in which he shows influence from Surrealism. The objects depicted have no support, but rather simply bladder in space as in works by Joan Miro. The influence of Surrealism is further evident in the bizarre juxtaposition of objects, called specifically because of their lack of relation to one another and in that sense the work harkens dorsum to his interest in racket and dissimilarity. Léger had made numerous paintings that included keys in the late 1920s and said of this painting: "One day, after cartoon a bunch of keys, I asked myself what chemical element was furthest removed from the bunch of keys, and I said to myself: 'Information technology's the man face.' I went out into the street and saw in a shop window the portrait of Mona Lisa. . . . No dissimilarity has ever been sharper than betwixt this bunch of keys and Mona Lisa." He considered this "risky picture" a success and kept information technology for himself.
Oil on canvass - Musée National Fernand Léger, Biot, France
1944
Les Chiliad Plongeurs Noirs (The Big Blackness Divers)
This painting is role of a series near divers influenced by watching dock workers in Marseilles. Léger shows his power to describe the human trunk without sacrificing freedom from representation, a theme that runs through his oeuvre. The bodies here are woven together similar a fabric, symbolizing a social network, with the artillery, legs and torsos also serving as independent forms. As in Mona Lisa with Keys, the bodies float and intertwine in space with no visible support. Further underscoring his dual involvement in the human figure and non-representation, the painting includes lines dissever from color and blocks of color that are not outlined--a technique that marks Léger's later works. The work was done when Léger was living in New York City during the early menstruation of Abstract Expressionism and the all-over limerick no doubt reflects a cantankerous influence with the artists in that circumvolve.
Oil on canvass - Centre Georges Pompidou
1950
The Constructors (Builders with Rope)
Léger became interested in the theme of construction workers in 1940 in line with his socialism and sympathy for the working classes, lecturing at the fourth dimension that art should be attainable to everyone. The human effigy is depicted hither as more naturalistic than in his previous works, making him one of the few artists interested in the human being figure during this period. In fact, Léger, abandoning his mechanical figures of his before catamenia, wanted the human being figures to dissimilarity with the steel. He got the idea when he drove past a construction site: "I saw the men swaying high up on the steel girders! I saw man like a flea; he seemed nonetheless lost in his inventions ... I wanted to return that; the dissimilarity between man and his inventions, between the worker and all that metal architecture, that hardness, that ironwork, those bolts and rivets." Later on its completion, Léger wanted the workers to have admission to the painting, and then he exhibited the piece of work in the cafeteria of the Renault automobile factory and was disappointed that the workers did not seem to understand it.
Oil on canvas - Musée National Fernand Léger, British indian ocean territory, French republic
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