Fernand Leger, Jaune II, c. 1927
|Artist:||Fernand Leger (1881 - 1955)|
|Title:||Jaune II, c. 1927|
|Medium:||Hand Woven Wool Tapestry|
|Image Size:||87 in x 55 1/2 in (221 cm x 141 cm)|
|Edition:||From the edition of approximately 20; conceived by Leger for Mybor c. 1927 and published and produced by Marie Cuttoli & Lucie Weill between 1949-1962.|
|Signature:||Woven signature 'Leger' along the border on the reverse.|
|Condition:||This work is in excellent condition.|
Item # 3798
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Historical Description of this artwork
Appropriately entitled Jaune II, this thick, lustrous tapestry features structural blocks of color placed against a yellow background. In his trademark style, Léger depicts abstract forms that intersect and bisect; the overall image appears constructed in the same manner as a building. This work relays a distinctly modern, slightly industrial feel, almost as if we are witnessing the nuts and bolts of a machine or mechanical part. The yellow background adds a warm splash of color and a hint of softness when compared with the sharp, angular forms in the center of the composition. The medium also contributes an element of texture to the work, allowing for slight discrepancies in color and form depending on the way in which the fabric rests.
This original wool tapestry has the woven signature ‘Leger’ along the border on the reverse. This work was conceived by Leger for Mybor c. 1927 and published and produced by Marie Cuttoli & Lucie Weill between 1949-1962.
Catalogue Raisonné & COA:
1. An Exhibition of Contemporary French Tapestries. Museum of Modern Art, New York. New York: Charles E. Slatkin Inc., Galleries, 1965. Listed and illustrated on pg. 15.
2. A Certificate of Authenticity will accompany this work.
Displayed in the Following Exhibitions:
” Charles E. Slatkin Galleries, New York, NY: September 20-October 20, 1965
” Everson Museum of Art, Syracuse, NY: November 1-30, 1965
” California Palace of the Legion of Honor, San Francisco, CA: December 10, 1965-January 10, 1966
” Marion Koogler McNay Art Institute, San Antonio, TX: January 20-February 20, 1966
” Hopkins Center Galleries, Dartmouth College, Hanover, NH: March 1-31, 1966
” Allentown Art Museum, Allentown, PA: April 12-May12, 1966
” North Carolina Museum of Art, Raleigh, NC: May 22-June 22, 1966
” Dallas Museum of Fine Arts, Dallas, TX: July 6-August 6, 1966
” Portland Art Museum, Portland, OR: August 16-September 16, 1966
” William Rockhill Nelson Gallery, Kansas City, MO: September 26-October 26, 1966
” Minneapolis Institute of Arts, Minneapolis, MN: November 8-December 4, 1966
” Akron Art Institute, Akron, OH: December 18, 1966-January 18, 1968
” Baltimore Museum of Art, Baltimore, MD: January 28-February 28, 1967
” Des Moines Art Center, Des Moines, IA: March 10-April 10, 1967
” De Cordova Museum, Lincoln, MA: April 21-May 22, 1967
” Fine Arts Gallery of San Diego, San Diego, CA: June 2-July 4, 1967
” J.B. Speed Museum, Louisville, KY: July 15-August 16, 1967
” Seattle Art Museum, Seattle, WA: August 26-September 27, 1967
” Museum of Art, Rhode Island School of Design, Providence, RI: October 9-November 12, 1967
” Munson-Williams-Proctor Institute, Utica, NY: November 22-December 16, 1967
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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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 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.