Leger, Fernand, Composition sur fond jaune
Signed Fernand Leger, Lithograph, Composition sur fond jaune
|Artist:||Leger, Fernand (1881 - 1955)|
|Title:||Composition sur fond jaune|
Original Color Lithograph
|Image Size:||22 3/4 in x 18 1/2 in (57.8 cm x 47 cm)|
|Sheet Size:||25 3/4 in x 19 3/4 in (65.4 cm x 50.2 cm)|
|Framed Size:||40 1/4 in x 34 3/4 in (102.2 cm x 88.3 cm)|
|Signed:||This work is hand-signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in ink in the lower right margin; also signed 'FL-52' in the stone in black.|
|Edition:||Numbered 10/75 in pencil in the lower left margin; printed on watermarked Arches Script wove paper by Mourlot, Paris; published by Galerie Louise Leiris, Paris.|
|Condition:||This work is in great condition, with full margins and bright fresh colors.|
Putting a new spin on one of his favorite subjects, Léger here depicts tree trunks and logs as objects in space rather than related to the ground. These forms appear fragmented and tilted in varied angles, addressing Léger's fascination with the concept of construction and reconstruction, as we mentally rearrange these objects to create new and fascinating visual representations.
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Putting a new spin on one of his favorite subjects, Léger here depicts tree trunks and logs as objects in space rather than related to the ground. The gnarled branches form an abstract still-life composition, twisting and turning in unanticipated directions. The earthy browns, greens, and yellows contrast with the bold black outlines. The logs appear as though arranged on a platter, presented to the viewer for contemplation. An intriguing aspect of this piece is the tiny box-like form containing three small, tubular figures to the upper right of the composition. These tubular forms resemble cigarettes, stuffed in a box with smoke emitting from them in the form of dark diagonal streaks, bringing to mind the fragility of the logs as wood that can be easily burned.
Created in c. 1954, this work was printed on watermarked Arches Script wove paper by Mourlot, Paris and published by Galerie Louise Leiris, Paris. Hand signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in ink in the lower right margin and numbered 10/75 (from the total edition of 75) in pencil in the lower left margin.
Catalogue Raisonné & COA:
1. Saphire, Lawrence, Fernand Léger, The Complete Graphic Work, 1978, listed as cat no 138 on pgs 228-29, 284-85, another example from the same edition illustrated.
2. 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.