Fernand Leger, Matinée d’ivresse (Morning Rapture) from Les Illuminations, 1949
Signed Fernand Leger lithograph, Matinée d’ivresse (Morning Rapture) from Les Illuminations, 1949
|Artist:||Fernand Leger (1881 - 1955)|
|Title:||Matinée d’ivresse (Morning Rapture) from Les Illuminations, 1949|
|Medium:||Original Color Lithograph with Hand-Applied Pochoir on Lana Vélin paper|
|Image Size:||11 1/3 in x 9 1/3 in (28.8 cm x 23.7 cm)|
|Sheet Size:||13 in x 10 in (32.8 cm x 25.2 cm)|
|Framed Size:||28 in x 24 7/8 in (71.1 cm x 63.2 cm)|
|Edition:||Annotated ‘essai de tirage’ (or, trial proof) and hand signed by Louis Grosclaude (editor) in pencil in the lower left margin. Annotation and editor’s signature are unique to this rare, trial proof edition with hand-applied coloring.|
|Signature:||This work is hand-signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in pencil in the lower right margin. Also signed ‘F.L.’ in the stone in black in the lower right. Hand-signed by Louis Grosclaude (editor) in pencil|
|Condition:||This work is in great condition, with full margins and bright fresh colors.|
Item # 2370
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Historical Description of this artwork
This intriguing composition goes hand-in-hand with Rimbaud’s poem titled Génie. A lively, abstract black and white shape anchors the work, flanked by three circular organic forms in a brilliant red. Central to the piece is the phrase, ‘Assassins | Le temps des voici (Assassins | The Time is Now)’. Ominous and clearly referencing the tone and character of Rimbaud’s work, Léger has intriguingly captured the strength and essence of this written inspiration.
Created in 1949, this original color lithograph with hand-applied pochoir coloring was one of a series of 15 works by Fernand Léger intended to illustrated a book of poems by the writer, Arthur Rimbaud titled Les Illuminations. Printed by Roth & Sauter, Lausanne, this work is hand signed by Fernand Léger (Argentan, 1881- Gif-sur-Yvette, 1955) in pencil in the lower right with his initials printed in black in the lower right of the image. Annotated ‘essai de tirage’ (or, trial proof) and hand signed by Louis Grosclaude (editor) in pencil in the lower left margin. Annotation and editor’s signature are unique to this rare, trial proof edition with hand-applied coloring.
Catalogue Raisonné & COA:
This work 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 final sale of the work).
1.Saphire, L. (1978). Fernand Léger, The Complete Graphic Work. Listed and illustrated as catalogue raisonné no. 31 on pg. 78 and detailed on pg. 70.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complimentary 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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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.