Léger, Fernand - Cubismo
Domingo, Maio 29, 2005
The Wedding, 1911-12
Oil on canvas
257 x 206 cm
Musée National d'Art Moderne, Centre Pompidou, Paris
Les Fumeurs, December 1911–January 1912
Oil on canvas
Guggenheim Museum, New York City
Smoke, 1912
Oil on canvas
92 x 73 cm
Room of Contemporary Art Fund.
Contrast of Forms, 1913
OIl on canvas
100.3 x 81.1 cm
The Museum of Modern Art. New York City
Acrobats at the Circus, 1918
Oil on canvas
97 x 117 cm
Öffentliche Kunstsammlun Basel, Kunstumueum
Les Hommes dans la ville - 1919
Oil on canvas
Guggenheim Museum, New York City
The Typographer, 1919
Oil on canvas
54 x 46 cm
Kröller-Müller Museum, Otterlo
The Staircase, 1919-1920
Oil on canvas
74,6 x 60 cm
Private Collection
Woman with a Cat - 1921
Oil on canvas
Metropolitan The Museum of Modern Art, New York City
La Grand Déjeuner, 1921
Oil on canvas
183,5 x 251,5 cm
The Museum of Modern Art. Nueva York City
The Lunch, 1921
Oil on canvas
92 x 65 cm
Centre Georges Pompidou, Paris, France
Nature morte à la chope, 1921-1922
Oil on canvas
92 x 60 cm
Tate Gallery. London
Still Life, 1922
Oil on canvas
65 x 50 cm
Kunstmuseum Bern, Hermann-und-Margarit-Rupf-Stifung.
Skating Rink, 1922
Watercolor
40,5 x 48 cm
Dansmuseet, Stockholm
Femme tenant une vase - 1927 (definitive state)
Oil on canvas
Guggenheim Museum, New York City
Still Life with Arm, 1927
Oil on canvas
55 x 46 cm
Museum Folkwang, Essen
Keys (Composition), 1928
Oil on canvas
651 x 537 mm
Tate Gallery, London
La Danse, 1929
Oil on canvas
130 x 90 cm
Musée des Beaux Arts de Grenoble, Grenoble, France
Black Tree, 1937
Oil on canvas
92 x 65 cm
Galerie Louise Leiris, Paris, France
The Drivers II, 1941-42
OIl on canvas
228.6 x 172.8 cm
The Museum of Modern Art, New York City
La gran Julie, 1945
OIl on canvas
111,8 x 127,3 cm
The Museum of Modern Art, Nueva York City
The Plant (La plante), 1945
Oil on canvas
50.8 x 40.5 cm
Private collection
Good Bye New York, 1946
Oil on canvas
130 x 162 cm
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France
The Acrobat and his Partner, 1948
Oil on canvas
1302 x 1626 mm
Tate Gallery, London
Rimbaud, 1948
Watercolor on heavy white wove paper
13¼ x 10¼ in. (33.8 x 26.0 cm)
Detroit Institute of Arts, Michigan
The Builders, 1950
Oil on canvas
Léger Museum, Biot
Les Trapézistes - 1954
Oil on canvas
National Gallery of Australia, Canberra
The Great Parade - 1954 (definitive state)
Oil on canvas
Guggenheim Museum - New York City
Two Women Holding Flowers, 1954
Oil on canvas
972 x 1299 mm frame: 1100 x 1432 x 80 mm
Tate Gallery, London
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O circo era um dos temas preferidos de Fernand Legér, culminando com a gigantesca composição A Grande Parada. Utilizou este tema para celebrar as actividades lúdicas das classes operárias, preocupado como sempre foi ao longo da sua carreira com uma criação da "arte do povo". Léger nasceu em Argentam, perto de Paris, em 1881. Era filho de camponeses. Trabalhou num escritório de arquitectura antes de ir para Paris, em 1900. Cursou a Escola de Artes Decorativas e a Escola de Belas Artes. Recebeu influência das pinceladas geométricas de Cézanne e, posteriormente, das descobertas de Matisse. Em 1908 conheceu os cubistas e em 1910 pintou Nus na Floresta. Foi para a frente na 1ª Guerra Mundial. A partir de 1917, sua obra apresenta locomotivas e engrenagens, mostrando aspectos do mundo industrializado. Seus personagens adquirem, também, mecanizações, não possuindo humanidade. Na década seguinte, pintou murais, liberou formas e cores, tornando-se um pintor mais abstrato. Durante a Segunda Guerra, refugiou-se nos Estados Unidos. Voltou à França em 1945 onde, além de mosaicos e vitrais para igrejas, trabalhou em decoração e desenhou figurinos para bailados. Morreu em 1955, em Gif-sur-Yvette, em França.
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Joseph Fernand Henri Léger was born February 4, 1881, in Argentan, France. After apprenticing with an architect in Caen from 1897 to 1899, Léger settled in Paris in 1900 and supported himself as an architectural draftsman. He was refused entrance to the Ecole des Beaux-Arts but nevertheless attended classes there beginning in 1903; he also studied at the Académie Julian. Léger’s earliest known works, which date from 1905, were primarily influenced by Impressionism [more]. The experience of seeing the Paul Cézanne retrospective at the Salon d’Automne in 1907 and his contact with the early Cubism [more] of Pablo Picasso and Georges Braque had an extremely significant impact on the development of his personal style. From 1911 to 1914, Léger’s work became increasingly abstract, and he started to limit his color to the primaries and black and white. In 1912, he was given his first solo show at Galerie Kahnweiler, Paris. Léger served in the military from 1914 to 1917. His “mechanical” period, in which figures and objects are characterized by tubular, machinelike forms, began in 1917. During the early 1920s, he collaborated with the writer Blaise Cendrars on films and designed sets and costumes for performances by Rolf de Maré’s Ballets Suédois; in 1924, he completed his first film without a plot, Ballet mécanique. Léger opened an atelier with Amédée Ozenfant in 1924 and in 1925 presented his first murals at Le Corbusier’s Pavillon de l’Esprit Nouveau at the Exposition internationale des arts décoratifs. In 1931, he visited the United States for the first time. In 1935, the Museum of Modern Art, New York, and the Art Institute of Chicago presented an exhibition of his work. Léger lived in the United States from 1940 to 1945 but returned to France after the war. In the decade before his death, Léger’s wide-ranging projects included book illustrations, monumental figure paintings and murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs. In 1955, he won the Grand Prize at the São Paulo Bienal. Léger died August 17 of that year, at his home in Gif-sur-Yvette, France. The Musée Fernand Léger was inaugurated in 1960 in Biot, France.
Guggenheim Collection - Léger Biography
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