Leger, Fernand, La Fleur (The Flower), 1952
Signed Fernand Leger, Lithograph, La Fleur (The Flower), 1952
|Artist:||Leger, Fernand (1881 - 1955)|
|Title:||La Fleur (The Flower), 1952|
Original Color Lithograph
|Image Size:||11 7/10 in x 8 9/10 in (29.6 cm x 22.5 cm)|
|Sheet Size:||13 in x 9 4/5 in (33 cm x 25 cm)|
|Framed Size:||26 3/4 in x 23 1/2 in (68 cm x 60 cm)|
|Signed:||This work is hand-signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette,1955) in black ink in the lower right.|
|Edition:||Numbered from the edition of 30 in the lower left margin; published by Mourlot, Paris.|
|Condition:||This work is in excellent condition.|
Exemplifying Léger's unique take on color and form, this brilliantly colored work centers around a lone flower seeming to float in the sky as if transcending its roots. A common inspiration for Leger, this flower is translated into an entirely new composition.
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Incredibly bold and vibrant color leaps from the composition. Green, white, and red colors contrast sharply with the black lining and highlight the flower amongst the clouds. Looking at this work brings to mind a quote from Albert Camus's 1942 book, The Myth of Sisyphus, in which he writes, "It is curious to note that the most intellectual kind of painting, the one that tries to reduce reality to its essential elements, is ultimately but a visual delight. All it has kept of the world is its color." This ideology of representation is particularly apparent in this work by Léger in which the color essentially makes up the work, with the actual object being an afterthought.
Created in 1952, this color lithograph is hand-signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in ink in the lower right margin and numbered from the edition of 30 in the lower left margin. Trials of this lithograph were pulled by Desjobert, but after a dispute were switched to Mourlout, Paris.
Catalogue Raisonné & COA:
1. Saphire, Lawrence, Fernand Léger, The Complete Graphic Work, 1978. Listed as catalogue raisonné no. 120 on pg. 194, and illustrated on pg. 195.
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.