Fernand Leger, Le Cheval sur fond jaune, 1953


Fernand Léger Le Cheval sur fond jaune, 1953 for sale

Signed Fernand Leger ceramic, Le Cheval sur fond jaune, 1953

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Artist: Fernand Leger (1881 - 1955)After

Title: Le Cheval sur fond jaune, 1953

Medium: Original Low Relief Glazed Ceramic Plaque

Image Size: 18 in x 14 7/8 in (45.7 cm x 37.8 cm)

Edition: Numbered from the edition of 250 on the verso; Published by the Musée National Fernand Léger, Biot.

Signature: With the artists initials ‘F.L’ in the lower right corner, this work is signed on the verso by Nadia Léger: ‘N. LEGER’.

Condition: This work is in excellent condition.

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Item # 5816
 
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Historical Description of this artwork


Fernand Léger Le Cheval sur fond jaune (Horse on Yellow Background), 1953 is a fantastical ceramic rendered in brilliant yellow. The head of the horse stands out against an abstracted background of yellow, black, and white. Towards the right of the ceramic the pattern looks almost like bricks in alternating white, black, and yellow. The long horses face takes up most of the center of the ceramic, leaving room for two vertical yellow and white portions on the left-hand side with delicate black detailing. The horse’s face is split between white and black, creating a stark contrast.

Léger ventured into ceramics in 1949 with the help of Roland Brice, in Biot, France. By this time his style was very cemented, and his ceramics are some of the finest examples of his work. The first ceramics that he made were modeled after some of his earlier paintings. Color was an integral element to Léger’s art – and as such it was an anchoring point of his ceramics as well. Léger liked the ceramic medium for the experimentation it offered with form and depth.

Created in 1953 after the original by the artist, this glazed ceramic multiple painted in black, yellow, and white with the initials of Fernand Léger (Argentan, 1881 – Gif-sur-Yvette, 1955) ‘F.L.’ in the lower right and is signed on the verso by Nadia Léger: ‘N. LEGER’. A label on the verso reads ‘LE CHEVAL sur fond jaune | Edition à 250 exemplaires d’après la | maquette originale de Fernand LEGER | (exclusivité Musée National F. LEGER_BIOT).’

Catalogue Raisonné & COA:

Fernand Léger Le Cheval sur fond jaune (Horse on Yellow Background), 1953 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).

1.  A Certificate of Authenticity will accompany this artwork.

About the Framing:

Framed to museum-grade, conservation standards, Fernand Léger Le Cheval sur fond jaune (Horse on Yellow Background), 1953 presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

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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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Artistic Styles of Leger

20th Century French Modern Master, pochoir, ceramic and tapestries

Fernand Leger Complete Biography

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Fernand Leger
Fernand Leger (1881-1955)

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.

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