Leger, Fernand, Composition aux dominos
Signed Fernand Leger, Lithograph, Composition aux dominos
|Artist:||Leger, Fernand (1881 - 1955)|
|Title:||Composition aux dominos|
Original Color Lithograph with Hand-Applied Pochoir
|Image Size:||25 3/8 in x 19 1/2 in (64.5 cm x 49.5 cm)|
|Framed Size:||34 3/4 in x 27 3/8 in (88.3 cm x 69.5 cm)|
|Signed:||This work is hand-signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in blue ink in the lower right margin; signed black in the stone "47 | F. LEGER"in the lower right of the image|
|Edition:||Numbered 165/300 in blue ink in the lower left margin; after an original oil on canvas; printed by Guy Spitzer on watermarked Johannot Et Cie Annonay paper and embossed with the Spitzer blindstamp in the lower left of the image.|
|Condition:||This work is in great condition, with full margins and bright fresh colors|
Incredibly bold both in color and form, this piece instantly commands the attention of the room. Undeniably a superb example of Léger 's oeuvre, this piece contains fragments of varied objects - dominoes, a branch, and balls from the French game petanques - arranged harmoniously against a striking grey background.
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|In Composition aux dominos, a work based on a painting by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) that was made collaboratively by Léger
and Guy Spitzer, incredibly bold and vibrant color leaps from the composition.
Bright yellows, reds, and greens contrast sharply with whites and blacks. A
brown, abstracted branch or root rests vertically in the center of the composition.
Surrounding the base are the scattered dominos for which the work is titled.
We also find the small balls widely recognized in the traditional French game
of petanques (similar to bowling) which vary from a yellows and reds to browns
and whites stacked to the lower left amidst leaf-like shapes.
This original color lithograph with pochoir is hand signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in blue ink in the lower right margin and signed black in the stone "47 | F. LEGER" in the lower right of the image. Numbered 165/300 in blue ink in the lower left margin. After an original oil on canvas, printed by Guy Spitzer on watermarked Johannot Et Cie Annonay paper and embossed with the Spitzer blindstamp in the lower left of the image. Label adhered on the lower left reverse states "GUY SPITZER, EDITEUR | PARIS | REPRODUCTIONS DE TABLEAUX DE MAITRES | Grandeur Original | FERNAND LEGER | Composition aux Dominos | Tirage numerate el signé par l'Artiste | Limité à 300 exemplaires | Cette épreuve porte le N? 165 [initial Spitzer]."
Catalogue Raisonné & COA:
1. Saphire, L. (1978). Fernand Léger: The Complete Graphic Work. Blue Moon Press: NY. Listed and illustrated as catalogue raisonné no. E20 on pg. 290-291 (another example illustrated).
2. Spitzer, Guy. Guy Spitzer, Editeur D'Art. Editions Guy Spitzer: PARIS. Listed and illustrated on pg. 11 (another example illustrated).
3. A Certificate of Authenticity will accompany this work.
About the Framing:
|Style:||20th Century French Modern Master, pochoir, ceramic and tapestries|
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Biography of Fernand Leger
French painter and designer. From c.1909 he participated in the Cubist movement. He is generally considered one of its major masters but his curvilinear and tubular forms (he was for a time called a 'tubist') contrasted with the fragmented forms preferred by Picasso and Braque. The First World War, during which he was gassed whilst serving as a stretcher-bearer, had a profound effect on Leger. His contact with men of different social classes and different walks of life came as a revelation: 'I was abruptly thrust into a reality which was both blinding and new,' he said. Henceforward he made it his ambition to create an art which should be accessible to all ranks of modem society.
In 1920 he met Le Corbusier and Ozenfant and in the early 1920s he was associated with their Purist movement. His paintings were static, with the precise and polished facture of machinery, and he had a fondness for including representations of mechanical parts.During the late 1920s and 1930s he also painted single objects isolated in space and sometimes blown up to gigantic size, In the inter-war years he expanded his range beyond easel painting, with murals and designs for the theatre and cinema. He was also busy as a teacher, notably at his own school, the Academie de I'Art Contemporain, and he traveled widely, making three visits to the USA in the 1930s. The connections he had made there stood him in good stead when he lived in America. During the Second World War he lived in the USA, teaching at Yale University, and at Mills College, California. Acrobats and cyclists were favorite subjects in his paintings of this time. From his return to France in 1945 his painting reflected more prominentlyhis political interest in the working classes. But its static, monumental style remained, with flat, unmodulated colours, heavy black contours, and a continuing concern with the contrast between cylindrical and rectilinear forms. in his later career Leger worked much on large decorative commissions, notably the windows and tapestries for the church at Audincourt (1951). Many honours came to him late in life, and a museum dedicated to him opened at Biot in France in 1957. In the catalogue of the exhibition Leger and Purist Paris' (Tate Gallery, London, 1970), John Golding wrote of Leger: 'No other major twentieth-century artist was to react to, and to reflect, such a wide range of artistic currents and movements . . . And yet he was to remain supremely independent as an artistic personality. Never at any moment in his career could he be described as a follower ... But his originality lay basically in his ability to adapt the ideas and to a certain extent even the visual discoveries of others to his own ends.' He saw the poetic value that lies in the clear delineation of everyday objects, the in trinsic beauty of modem machinery and the things which are mass-produced by machinery, and he favoured proletarian subjects, depicting them with the same clarity and precision as the themes taken from machine culture.