Fernand Leger Prints, Paintings, Lithographs, Sculptures, and Art
- Composition aux dominos, 1947 Fernand Leger Hand Signed Lithograph with Pochoir
$12,000.00Item # 2668
- Le Grand Coq (The Large Rooster), 1952 Fernand Leger Hand Signed Ceramic SculptureREQUEST PRICE/SUBMIT BEST OFFERItem # 1889
- Nature Mort aux Fruits, 1948 Fernand Leger Hand Signed Color LithographREQUEST PRICE/SUBMIT BEST OFFERItem # 2677
- Le Cheval sur fond jaune, 1953 Fernand Leger Low Relief Glazed Ceramic PlaqueREQUEST PRICE/SUBMIT BEST OFFERItem # 5816
- Médaillon (Medallion) Fernand Leger Original Low Relief Glazed Ceramic PlaqueREQUEST PRICE/SUBMIT BEST OFFERItem # 5108
- Les Acrobates (The Acrobats), 1954 Fernand Leger Terracota low relief ceramic plaque; clay with black, red and white enamelREQUEST PRICE/SUBMIT BEST OFFERW-5699
- Le jardin d’enfants (The Children’s Garden, or Kindergarten) Fernand Leger Ceramic SculptureREQUEST PRICE/SUBMIT BEST OFFERItem # 1982
- Abstract Composition, 1953 Fernand Leger Initialed Terracotta PlaqueREQUEST PRICE/SUBMIT BEST OFFERItem # 3397
- Le Puits (The Well), 1951 Fernand Leger Hand Signed Color LithographREQUEST PRICE/SUBMIT BEST OFFERItem # 3024
- L’Échafaudage au Soleil (The Scaffold Sun), 1951 Fernand Leger Hand Signed Color LithographREQUEST PRICE/SUBMIT BEST OFFERW-5817
- La Racine Grise (The Gray Root), c. 1953 Fernand LegerREQUEST PRICE/SUBMIT BEST OFFERItem # 4826
- Composition sur fond Jaune, 1952 Fernand Leger Hand Signed Color LithographREQUEST PRICE/SUBMIT BEST OFFERItem # 2676
- Branches, c. 1955 Fernand Leger Hand Signed Color LithographREQUEST PRICE/SUBMIT BEST OFFERItem # 2829
- Visage aux deux mains (Face with Two Hands), 1954 Fernand Léger Terracota low relief ceramic plaque; white clay with orange, yellow, blue, red, and black glazed enamelSOLDW-5598
- Nature Morte aux Fruits Verts (Still Life with Green Fruits), c. 1950 Fernand Léger Glazed Ceramic Relief with EnamelSOLDW-5593
- Femme a la Cruche (Woman with Jug), 1928 Fernand Léger Color Aquatint on Arches PaperSOLDW-5409
- Les Constructeurs (The Builders), 1955 Fernand Léger Color LithographSOLDW-5716
- Jaune II, c. 1927 Fernand Leger Hand Woven Wool TapestrySOLDItem # 3798
- Chevreuse Août, 1951 Fernand Leger Hand Signed SerigraphSOLDItem # 2875
- La Fleur (The Flower), 1952 Fernand Leger Hand Signed Color LithographSOLDItem # 3929
- Matinée d’ivresse (Morning Rapture) from Les Illuminations, 1949 Fernand Leger Hand Signed Color Lithograph &amp; PochoirSOLDItem # 2370
- L’enfant à l’accordéon, 1953 Fernand Leger Signed Aquatint Colored by SerigraphySOLDItem # 3136
- Red Bird in the Woods, 1953 Fernand Leger Hand Signed Color AquatintSOLDW-5818
- Composition á l’arbre, 1948 Fernand Leger Hand Signed Pen, Ink, &amp; WatercolorREQUEST PRICE/SUBMIT BEST OFFERItem # 2991
- Visage a une main sur fond ocre (Face with One Hand on Ocher Background) Fernand LegerSOLDW-5987
Why Leger ?
Fernand Leger's unique Cubism contains its own populist vocabulary. The French artist's monumental figures speak to everyone; his strong color work and graphic sensibility characterize his prints, lithographs, paintings, sculptures and art.
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Fernand Leger Complete Biography
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Fernand Leger Biography
French painter and designer. From c.1909 Fernand Leger 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. Fernand Leger’s 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 Fernand 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.