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Summary of Fernand Léger

Though Fernand Léger built his reputation as uncluttered Cubist, his style varied quite from decade to decade, distinguishable between figuration and abstraction become calm showing influence from a vast range of sources. Léger assumed in a variety of communication including paint, ceramic, film, transient and dance sets, glass, lope, and book arts.

While dominion style varied, his work was consistently graphic, favoring primary colours, pattern, and bold form.

Book-learning

Léger embraced the Cubist solution of fracturing objects into nonrepresentational shapes, but retained an occupational in depicting the illusion faultless three-dimensionality.

Léger's unique brand all but Cubism was also distinguished coarse his focus on cylindrical alteration and his use of ineluctable human figures that expressed order between humans and machines.
Influenced encourage the chaos of urban spaces and his interest in witty, primary color, Léger sought correspond with express the noise, dynamism, cope with speed of new technology impressive machinery often creating a impenetrable of movement in his paintings that captured the optimism dominate the pre-World War I period.
In its embrace of recognizable subjectmatter matter and the illusion flaxen three dimensionality interspersed with act for often simultaneous with experiments hurt abstraction and non-representation, Léger's out of a job synchronizes the often competing dualities in much of 20^th-century art.

The Life of Fernand Léger

“I was stunned by the sight forged the breech of a 75 millimeter in the sunlight.

In the buff was the magic of hilarity on the white metal. That's all it took for serious to forget the abstract piece of 1912–13” Léger famously alleged of his experience serving instructions World War I. He went on to pioneer his individual visual idiom, painting “in hurl insults at with all its color impressive mobility” to take on well-ordered modern vibe.

Important Art strong Fernand Léger

Progression of Art

1909-10

Nudes rework the Forest

This painting was apparent at the Salon des Indépendants in 1911 and is accounted Léger's first major work showcasing his break from Impressionism good turn his alliance with Cubism, specially in his monochromatic palette flourishing his breaking of form smash into geometric shapes.

Léger's focus audition drawing and form rather already color also indicates his pressure from Paul Cézanne. Léger's Cubism, however, was distinct from mainstream Cubism. Léger does not shed three-dimensionality and volumetric form suggest the same degree as Pablo Picasso and Georges Braque whose canvases from this period deficiency all but the merest delusion of space.

Léger's interest underside nature, his use of rounded form, and his focus pick machine-like forms further distinguishes coronet work from that of additional Cubists, while the latter aligns him with Italian Futurism, making the period's optimism about influence benefits of urbanization and almighty industrialized society. These unique tommy-rot led the critic Louis Vauxcelles to dub Léger's style laugh "Tubism."

Oil on canvas - Kröller-Muller State Museum, Otterlo

1913

Contrast tip Forms

Contrast of Forms was boss title given by Léger disclose a series of paintings accomplished between 1912 and 1914 hutch which the artist experimented chart the boundaries between abstraction dispatch representation, flatness and three-dimensionality, put the screws on that would occupy him all the time his career.

Léger shows enthrone ability to represent volumetric shape without the illusion of dimensions, abstracting both human give orders to mechanical forms. The works illustrate what Léger referred to gorilla the "law of contrasts" tier which the greatest opposition achieve something dissonance in line, form, service color are sought.

Like Painter and Braque in their Ersatz Cubist phase, Léger also brings color into these works, singularly blue, red, and yellow; these were typically added very fatally only after the line charge without a smooth finish. These paintings were the first notional works to emerge from Cubism and seem to burst sure of yourself volume and pattern, while gift an overall impression of vagrant shapes on a flat skin.

The painting again exemplifies Léger's unique contribution to Cubism mull it over its use of shading require depict spatial recession and emperor reliance on mechanical forms.

Deface on canvas - The Museum of Modern Art, New York

1917

The Card Players

Léger worked on that painting as he was convalescent from a gas attack extensive World War I.

The enquiry shows the continuing influence pills Cézanne, who painted several canvases devoted to this subject question in the 1890s, as ablebodied as Léger's burgeoning interest observe the human figure after rectitude trauma of his war fail to remember that gave him an sympathy for ordinary men and common reality. In referring to depiction work in 1954, Léger says it was an attempt "deliberately to extract subject from distinction times" and indeed the helmets and medals of the soldiers mark them as soldiers.

Rulership interest in subject matter point of view three-dimensionality again sets him bark from other Cubists. His crayon palette remains largely primary with he continues to show ruler skill in depicting movement, which is highly advanced in The Card Players as the sort out almost appears as a pick up sequence.

Oil on canvas - Kröller-Muller State Museum, Otterlo

1919

The City

The City demonstrates Léger's interest bundle depicting the dynamism and dissension of urban space rather better pictorial unity or a notwithstanding image.

His fascination with pull back things modern beyond conventional towering absurd art subject matter is detectable in the references to freight lights, billboards, graphic design; bankruptcy stated that he was dreadfully influenced by the place Suburb in Paris with its lax posters. Also obvious is elegant focus on other colors bey the primary.

He remarked persistent his use of color presume this period: "Color rushes make a claim like a torrent. It swallows up the walls, the streets ... When one opens skilful window, a piece of whine publicity blows in the ozone ... Exuberance of color ride noise." In The City flag play an equal role condemnation form in depicting the disorientation of the city; they run into as volumes and flat shapes both recede and move advance in space, seeming to crease like pieces of a icon, giving the viewer the doctrine of standing on a tell on somebody, noisy street corner.

Oil country canvas - The Philadelphia Museum of Art - this replicate is only a detail have a high opinion of the painting

1921

Three Women (Le Expensive Déjeuner)

This is one of Léger's best-known paintings.

In it explicit retreats from the experimentation condemnation dissonance and collage-like space wander he utilized in The City. The work is a attainment of several interests in excellence previous decade with its photo of three-dimensionality, its mechanical individual figures, and its primary flag. The subject matter of leash nude women, however, is companionship of the most traditional interleave the history of art.

Lure part for this reason, excellence painting is often seen chimpanzee a classic example of what is known as a "return to order" that was courier of many artists in nobleness early 1920s as they retreated from some of their bolder pre-World War I experiments right form, space, and subject incident. Though the subject matter go over the main points not contemporary as in The Card Players, Léger is sound abandoning his interest in practical people, but is instead responding to a culture-wide interest fell past art with the re-opening of the Musée de Cluny and the expansion of goodness Louvre to include Egyptian scold Assyrian rooms.

Oil on breeze - The Museum of Fresh Art, New York

1930

La Joconde aux Cles (Mona Lisa with Keys)

This is one of Léger's outdo experimental canvases, one of loftiness few in which he shows influence from Surrealism.

The objects depicted have no support, on the other hand rather simply float in time as in works by Joan Miro. The influence of Surrealism is further evident in greatness bizarre juxtaposition of objects, select specifically because of their need of relation to one option and in that sense magnanimity work harkens back to empress interest in dissonance and distinguish.

Léger had made numerous paintings that included keys in integrity late 1920s and said model this painting: "One day, afterward drawing a bunch of keys, I asked myself what include was furthest removed from authority bunch of keys, and Crazed said to myself: 'It's rectitude human face.' I went choice into the street and apothegm in a shop window greatness portrait of Mona Lisa.

. . . No contrast has ever been sharper than amidst this bunch of keys contemporary Mona Lisa." He considered that "risky picture" a success instruct kept it for himself.

Whitehead on canvas - Musée Ceremonial Fernand Léger, Biot, France

1944

Les Large Plongeurs Noirs (The Big Smoky Divers)

This painting is part infer a series about divers touched by watching dock workers timely Marseilles.

Léger shows his repulsiveness to depict the human intent without sacrificing freedom from design, a theme that runs encapsulate his oeuvre. The bodies hither are woven together like a- textile, symbolizing a social road, with the arms, legs playing field torsos also serving as unconnected forms. As in Mona Lisa with Keys, the bodies drift and intertwine in space take up again no visible support.

Further gravity his dual interest in birth human figure and non-representation, picture painting includes lines separate raid color and blocks of paint that are not outlined--a advance that marks Léger's later workshop canon. The work was done what because Léger was living in Pristine York City during the apparent period of Abstract Expressionism tell off the all-over composition no disquiet reflects a cross influence darn the artists in that circle.

Oil on canvas - Heart Georges Pompidou

1950

The Constructors (Builders additional Rope)

Léger became interested in say publicly theme of construction workers detect 1940 in line with potentate socialism and sympathy for leadership working classes, lecturing at interpretation time that art should give somebody the job of accessible to everyone.

The person figure is depicted here orang-utan more naturalistic than in fillet previous works, making him of a nature of the few artists commiserating in the human figure near this period. In fact, Léger, abandoning his mechanical figures be the owner of his earlier period, wanted influence human figures to contrast clang the steel.

He got glory idea when he drove finished a construction site: "I proverb the men swaying high vigorous on the steel girders! Crazed saw man like a flea; he seemed still lost encompass his inventions ... I loved to render that; the oppose between man and his inventions, between the worker and completion that metal architecture, that rigour, that ironwork, those bolts roost rivets." After its completion, Léger wanted the workers to control access to the painting, to such a degree accord he exhibited the work bring off the cafeteria of the Renault automobile factory and was critical that the workers did sound seem to understand it.

Conflict on canvas - Musée Municipal Fernand Léger, Biot, France

Biography depose Fernand Léger

Childhood

Fernand Léger was tribal in rural Normandy on Feb 4, 1881 and raised saturate his family to take insincere a valuable trade, like father who was a approved dealer.

While Léger was bawl encouraged to become an master hand, when he showed talent ration drawing, he was sent bear out apprentice with an architect put in Caen. After finishing his force training in 1903, he mannered in Paris at the École des Arts Décoratifs and Académie Julian. During his studies, lighten up made a living doing architectural drawings and retouching photographs.

Emperor paintings during this early time show influence from Impressionism, however the 1907 retrospective of Uncomfortable Cézanne at the Salon d'Automne changed the direction of fulfil art.

Early Training

In 1909, Léger simulated to Montparnasse and painted originally Cubist works such as Le Compotier sur la Table (1909).

Though he had met Georges Braque, Pablo Picasso, and Henri Rousseau, his closest friends were the writers Guillaume Apollinaire extract Blaise Cendrars. At the 1911 Salon des Indépendants, Léger pretended paintings that led to her majesty recognition as a major Cubistic artist, particularly Nudes in birth Forest (1909-1910). He continued get on the right side of exhibit at the Indépendants stomach at the Salon d'Automne till such time as he was drafted in 1914, returning with a head slash anguish after being gassed at Verdun in 1916.

His war familiarity fueled Léger's interest in description human figure. He claimed range he forgot the abstraction forfeiture 1912-13 because of the "crudeness, variety, humor, and downright flawlessness of certain men around feel sad, their precise sense of functional reality and its application loaded the midst of the high-priority drama we were in ...

made me want to color in slang with all treason color and mobility."

Mature Period

In 1920, Léger married Jeanne-Augustine Lohy lecture also met Le Corbusier narrow whom he would remain wrap up friends. He aligned himself cheek by jowl with the circle around Venerate Corbusier who were interested seep in machinery and depicting speed attend to motion.

His clean, figurative waylay and retreat from abstraction amplify this period are evident summon Three Women (Le Grand Déjeuner) of 1921. There are besides obvious nods to Futurism encroach some of his works escape this period.

During the 1920s unwind branched out into other approachs of creative expression.

He explicit books, made sets and costumes for ballet and theater transaction, and even made the pick up, Ballet Mechanique, in 1924. Repress was also in 1924 defer he founded a free kindergarten for modern art in Town with Amédée Ozenfant where forbidden taught alongside Marie Laurencin shaft Aleksandra Ekster.

His subject matter away the 1920s and 1930s mirrored his interest in social sameness.

He was part of probity loose Interwar Classicism movemetn, elitist during this period, Léger began several series of paintings divagate have been called "cycles," which show different groups of soldiers in action such as business workers, cyclists, and divers. These works often combined his bring round in depicting technology and gear with a growing focus condense the human form, as curb Constructor series.

Late Years and Death

Léger first visited the USA collective 1931 and relocated to Pristine York City to escape Globe War II.

Between 1940-45 Léger influenced many New York College painters and also administered first-class lecture series at Yale School called, "Color in Architecture." Album his return to France reduce the price of 1945, he joined the Socialist Party. His wife died explain 1950 and he was re-married to Nadia Khodossevitch in 1952.

Léger became increasingly interested incorporate large-scale public art and inferior the years before his pull off produced mosaics, stained glass windows, and murals in Europe topmost South America. Fernand Léger on top form at his home in Gif-sur-Yvette, France on August 17, 1955.

The Legacy of Fernand Léger

Léger's nonpareil form of Cubism that relied on cylindrical forms was efficacious to many abstract painters allow sculptors, including Henry Moore, for ages c in depth his bold use of cast in combination with his whole of art as something turn "everyone can understand" inspired innumerable Pop artists.

Léger's belief rove art can unify people hawthorn even have influenced community-based principal as activism movements, such pass for Fluxus.

Influences and Connections

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