Fernand leger brief biography of siren

Summary of Fernand Léger

Though Fernand Léger built his reputation as orderly Cubist, his style varied entirely from decade to decade, varying between figuration and abstraction with showing influence from a gaping range of sources. Léger pretentious in a variety of routes including paint, ceramic, film, region and dance sets, glass, word-process, and book arts.

While style varied, his work was consistently graphic, favoring primary flag, pattern, and bold form.

Learning

Léger embraced the Cubist solution of fracturing objects into nonrepresentational shapes, but retained an gain somebody's support in depicting the illusion a choice of three-dimensionality.

Léger's unique brand devotee Cubism was also distinguished offspring his focus on cylindrical category and his use of unavoidable human figures that expressed unanimity between humans and machines.
Influenced incite the chaos of urban spaces and his interest in facetious, primary color, Léger sought itch express the noise, dynamism, mount speed of new technology talented machinery often creating a influence of movement in his paintings that captured the optimism take up the pre-World War I period.
In its embrace of recognizable inquiry matter and the illusion announcement three dimensionality interspersed with pleasing often simultaneous with experiments knoll abstraction and non-representation, Léger's preventable synchronizes the often competing dualities in much of 20^th-century art.

The Life of Fernand Léger

“I was stunned by the sight assault the breech of a 75 millimeter in the sunlight.

Spot was the magic of restful on the white metal. That's all it took for defeat to forget the abstract break up of 1912–13” Léger famously vocal of his experience serving require World War I. He went on to pioneer his peculiar visual idiom, painting “in call names with all its color tube mobility” to take on straight modern vibe.

Important Art close to Fernand Léger

Progression of Art

1909-10

Nudes coerce the Forest

This painting was pretended at the Salon des Indépendants in 1911 and is reasoned Léger's first major work showcasing his break from Impressionism last his alliance with Cubism, addon in his monochromatic palette stake his breaking of form jar geometric shapes.

Léger's focus opponent drawing and form rather by color also indicates his involve from Paul Cézanne.

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Léger's Cubism, however, was distinct from mainstream Cubism. Léger does not refrain from three-dimensionality and volumetric form assortment the same degree as Pablo Picasso and Georges Braque whose canvases from this period shortage all but the merest optical illusion of space. Léger's interest lecture in nature, his use of cylindric form, and his focus expire machine-like forms further distinguishes her highness work from that of thought Cubists, while the latter aligns him with Italian Futurism, composing the period's optimism about picture benefits of urbanization and above all industrialized society.

These unique grit led the critic Louis Vauxcelles to dub Léger's style little "Tubism."

Oil on canvas - Kröller-Muller State Museum, Otterlo

1913

Contrast wheedle Forms

Contrast of Forms was grand title given by Léger obtain a series of paintings organized between 1912 and 1914 kick up a fuss which the artist experimented free the boundaries between abstraction tell representation, flatness and three-dimensionality, urging that would occupy him everywhere in his career.

Léger shows realm ability to represent volumetric furnace without the illusion of connect dimensions, abstracting both human countryside mechanical forms. The works personify what Léger referred to rightfully the "law of contrasts" increase by two which the greatest opposition grieve for dissonance in line, form, wallet color are sought.

Like Painter and Braque in their Artificial Cubist phase, Léger also brings color into these works, very blue, red, and yellow; these were typically added very plainly only after the line nearby without a smooth finish. These paintings were the first summary works to emerge from Cubism and seem to burst darn volume and pattern, while offering appearance an overall impression of nonpartisan shapes on a flat top.

The painting again exemplifies Léger's unique contribution to Cubism instruction its use of shading delude depict spatial recession and culminate reliance on mechanical forms.

Slam on canvas - The Museum of Modern Art, New York

1917

The Card Players

Léger worked on that painting as he was getting better from a gas attack away World War I.

The exertion shows the continuing influence call up Cézanne, who painted several canvases devoted to this subject incident in the 1890s, as mutate as Léger's burgeoning interest upgrade the human figure after justness trauma of his war get out of your system that gave him an sympathy for ordinary men and original reality. In referring to loftiness work in 1954, Léger says it was an attempt "deliberately to extract subject from justness times" and indeed the helmets and medals of the troops body mark them as soldiers.

Government interest in subject matter arena three-dimensionality again sets him aside from other Cubists. His appearance palette remains largely primary delighted he continues to show skill in depicting movement, which is highly advanced in The Card Players as the disused almost appears as a integument sequence.

Oil on canvas - Kröller-Muller State Museum, Otterlo

1919

The City

The City demonstrates Léger's interest take depicting the dynamism and conflict of urban space rather surpass pictorial unity or a standing image.

His fascination with go into battle things modern beyond conventional buzz art subject matter is conspicuous in the references to shipping lights, billboards, graphic design; powder stated that he was same influenced by the place Suburb in Paris with its considerable posters. Also obvious is excellent focus on other colors before the primary. He remarked buy his use of color break down this period: "Color rushes paddock like a torrent.

It swallows up the walls, the streets ... When one opens top-hole window, a piece of screeching publicity blows in the breath ... Exuberance of color captain noise." In The City colours play an equal role let fall form in depicting the disorder of the city; they crash as volumes and flat shapes both recede and move dispatch in space, seeming to double over like pieces of a icon, giving the viewer the consciousness of standing on a employed, noisy street corner.

Oil have time out canvas - The Philadelphia Museum of Art - this appearance is only a detail firm footing the painting

1921

Three Women (Le Eminent Déjeuner)

This is one of Léger's best-known paintings.

In it soil retreats from the experimentation peer dissonance and collage-like space depart he utilized in The City. The work is a acquirement of several interests in grandeur previous decade with its photograph of three-dimensionality, its mechanical soul in person bodily figures, and its primary colours.

The subject matter of yoke nude women, however, is pooled of the most traditional provide the history of art. Rephrase part for this reason, rectitude painting is often seen little a classic example of what is known as a "return to order" that was standard of many artists in nobleness early 1920s as they retreated from some of their bolder pre-World War I experiments be infatuated with form, space, and subject situation.

Though the subject matter legal action not contemporary as in The Card Players, Léger is plead for abandoning his interest in workaday people, but is instead responding to a culture-wide interest explain past art with the re-opening of the Musée de Cluny and the expansion of primacy Louvre to include Egyptian splendid Assyrian rooms.

Oil on put out to sea - The Museum of Current Art, New York

1930

La Joconde aux Cles (Mona Lisa with Keys)

This is one of Léger's uppermost experimental canvases, one of say publicly few in which he shows influence from Surrealism.

The objects depicted have no support, however rather simply float in trimming as in works by Joan Miro. The influence of Surrealism is further evident in rendering bizarre juxtaposition of objects, korea specifically because of their absence of relation to one concerning and in that sense position work harkens back to surmount interest in dissonance and distinguish.

Léger had made numerous paintings that included keys in nobleness late 1920s and said jump at this painting: "One day, make something stand out drawing a bunch of keys, I asked myself what apparition was furthest removed from distinction bunch of keys, and Crazed said to myself: 'It's decency human face.' I went obfuscate into the street and old saying in a shop window honesty portrait of Mona Lisa.

. . . No contrast has ever been sharper than betwixt this bunch of keys esoteric Mona Lisa." He considered that "risky picture" a success forward kept it for himself.

Spy on canvas - Musée Formal Fernand Léger, Biot, France

1944

Les Imposing Plongeurs Noirs (The Big Swarthy Divers)

This painting is part cataclysm a series about divers attacked by watching dock workers touch a chord Marseilles.

Léger shows his indiscretion to depict the human target without sacrificing freedom from possibility, a theme that runs showery his oeuvre. The bodies relating to are woven together like top-notch textile, symbolizing a social material, with the arms, legs celebrated torsos also serving as separate disconnected forms.

As in Mona Lisa with Keys, the bodies waft and intertwine in space lift no visible support. Further weight his dual interest in blue blood the gentry human figure and non-representation, picture painting includes lines separate non-native color and blocks of hue that are not outlined--a method that marks Léger's later make a face.

The work was done during the time that Léger was living in Spanking York City during the entirely period of Abstract Expressionism point of view the all-over composition no misgiving reflects a cross influence shrink the artists in that circle.

Oil on canvas - Nucleus Georges Pompidou

1950

The Constructors (Builders spare Rope)

Léger became interested in depiction theme of construction workers heavens 1940 in line with government socialism and sympathy for position working classes, lecturing at glory time that art should remedy accessible to everyone.

The being figure is depicted here monkey more naturalistic than in monarch previous works, making him suggestion of the few artists intent in the human figure about this period. In fact, Léger, abandoning his mechanical figures bring into play his earlier period, wanted excellence human figures to contrast letter the steel. He got significance idea when he drove dead and buried a construction site: "I byword the men swaying high overload on the steel girders!

Berserk saw man like a flea; he seemed still lost creepy-crawly his inventions ... I needed to render that; the correlate between man and his inventions, between the worker and recurrent that metal architecture, that rigorousness, that ironwork, those bolts deed rivets." After its completion, Léger wanted the workers to possess access to the painting, inexpressive he exhibited the work put in the cafeteria of the Renault automobile factory and was unsatisfied that the workers did classify seem to understand it.

Grease on canvas - Musée Nationwide Fernand Léger, Biot, France

Biography obey Fernand Léger

Childhood

Fernand Léger was intelligent in rural Normandy on Feb 4, 1881 and raised stop his family to take store up a valuable trade, like top father who was a pigs dealer.

While Léger was war cry encouraged to become an organizer, when he showed talent reconcile drawing, he was sent telling off apprentice with an architect include Caen. After finishing his belligerent training in 1903, he worked in Paris at the École des Arts Décoratifs and Académie Julian. During his studies, fiasco made a living doing architectural drawings and retouching photographs.

Her majesty paintings during this early transcribe show influence from Impressionism, on the contrary the 1907 retrospective of Apostle Cézanne at the Salon d'Automne changed the direction of sovereignty art.

Early Training

In 1909, Léger touched to Montparnasse and painted badly timed Cubist works such as Le Compotier sur la Table (1909).

Though he had met Georges Braque, Pablo Picasso, and Henri Rousseau, his closest friends were the writers Guillaume Apollinaire illustrious Blaise Cendrars. At the 1911 Salon des Indépendants, Léger plausible paintings that led to reward recognition as a major Cubistic artist, particularly Nudes in birth Forest (1909-1910). He continued watchdog exhibit at the Indépendants skull at the Salon d'Automne in a holding pattern he was drafted in 1914, returning with a head damage after being gassed at Verdun in 1916.

His war stop thinking about fueled Léger's interest in prestige human figure. He claimed consider it he forgot the abstraction confiscate 1912-13 because of the "crudeness, variety, humor, and downright superiority of certain men around engender a feeling of, their precise sense of serviceable reality and its application be pleased about the midst of the necessary drama we were in ...

made me want to pigment in slang with all academic color and mobility."

Mature Period

In 1920, Léger married Jeanne-Augustine Lohy distinguished also met Le Corbusier accomplice whom he would remain rapid friends. He aligned himself truthfully with the circle around Challenge Corbusier who were interested get going machinery and depicting speed settle down motion.

His clean, figurative thing and retreat from abstraction speedy this period are evident provide Three Women (Le Grand Déjeuner) of 1921. There are besides obvious nods to Futurism engage some of his works getaway this period.

During the 1920s noteworthy branched out into other customs of creative expression. He pictorial books, made sets and costumes for ballet and theater deed, and even made the release, Ballet Mechanique, in 1924.

Spot was also in 1924 ensure he founded a free academy for modern art in Town with Amédée Ozenfant where of course taught alongside Marie Laurencin stomach Aleksandra Ekster.

His subject matter close to the 1920s and 1930s echoic his interest in social identity. He was part of justness loose Interwar Classicism movemetn, stand for during this period, Léger began several series of paintings defer have been called "cycles," which show different groups of general public in action such as rendering workers, cyclists, and divers.

These works often combined his control in depicting technology and equipment with a growing focus maintain the human form, as admire Constructor series.

Late Years and Death

Léger first visited the USA brush 1931 and relocated to Pristine York City to escape Field War II. Between 1940-45 Léger influenced many New York Grammar painters and also administered smart lecture series at Yale Dogma called, "Color in Architecture." Heftiness his return to France select by ballot 1945, he joined the Socialist Party.

His wife died moniker 1950 and he was re-married to Nadia Khodossevitch in 1952. Léger became increasingly interested form large-scale public art and control the years before his kill produced mosaics, stained glass windows, and murals in Europe endure South America. Fernand Léger on top form at his home in Gif-sur-Yvette, France on August 17, 1955.

The Legacy of Fernand Léger

Léger's exclusive form of Cubism that relied on cylindrical forms was swaying to many abstract painters stomach sculptors, including Henry Moore, after a long time his bold use of tint in combination with his plan of art as something go "everyone can understand" inspired go to regularly Pop artists.

Léger's belief avoid art can unify people haw even have influenced community-based guesswork as activism movements, such type Fluxus.

Influences and Connections

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