Leger, Fernand, Abstract Composition, 1953
Signed Fernand Leger, Ceramic, Abstract Composition, 1953
|Artist:||Leger, Fernand (1881 - 1955)|
|Title:||Abstract Composition, 1953|
Original Terracotta Plaque; white clay with white, blue, orange, yellow, red, and black enamel.
|Image Size:||17 1/2 in x 13 3/16 in x 2 in (44 1/2 cm x 33 1/2 cm x 5 cm)|
|Framed Size:||31 in x 27 1/4 in (78.7 cm x 69.2 cm)|
|Signed:||Initialed 'F.L.' on the front in black in the lower right.|
|Edition:||Annotated on verso in black 'COMPOSITION ABSTRAITE | Edition à 240 exemplaires d'après la | maquette originale de Fernand LEGER | (exclusivité Musée National F LEGER _BIOT)'|
|Condition:||This work is in very good condition with a glossy finish.|
Combining architectural elements with still life imagery, Léger creates a stunning ceramic plaque. In his signature style, he fragments abstracted objects within a balanced composition.
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Conveying an abstract composition in a sculptural form, Léger contributes a sense of texture and depth to this striking image. In the center of this balanced composition, a vertical white and black form reminiscent of a flute stands erect. Behind this figure, curved colored forms sway and bend and appear as abstract vines growing upwards and loosely twisting around each other. Léger places these figures against a stark white background, highlighting the bold, black lines and bright vibrant colors of these figures. The shiny gloss finish adds a sense of texture and encourages interaction with the piece, catching the light at varied angles depending on the position from which it is viewed.
Created in 1953, this original glazed terracotta plaque was created through collaboration between Fernand Léger (Argentan, 1881 - Gif-sur-Yvette, 1955) and ceramicist Roland Brice. This piece is initialed 'F.L.' on the front in black in the lower right and annotated on verso in black 'COMPOSITION ABSTRAITE | Edition à 240 exemplaires d'après la | maquette originale de Fernand LEGER | (exclusivité Musée National F LEGER _BIOT'. Another example of this work is featured in the collection at the Musée National Fernand Léger, Biot.
Catalogue Raisonné & COA:
1. Brunhammer, Y. (2005). Fernand Léger: The Monumental Art. 5 Continents Editions: Milan. Listed and illustrated as catalogue raisonné no. 148 on pg. 139. Further discussion on pgs. 132 & 140.
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.