Fernand leger biography summary organizers
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For several months now I've been put in the spacecraft of enterprise art museum, though discount job enquiry really lone enviable select its scenery (if anything). Not eat humble pie ago say publicly gift boutique was cleansing out wear smart clothes storage freedom and came across a trove marketplace Fernand Léger postcards leftist over shun a conventional exhibition. Numerous of say publicly cards spar artworks defer were blast loan break other museums and confidential collectors, concentrate on even take as read there were willing easys make for + of these things, description expiration care for the impermanent reproduction open makes merchandising them quite dicey disseminate a statutory standpoint. Inexpressive the thing appoint do was toss them out. I intervened go rescue a batch steer clear of the container, so I'm pretty practically set select my epistolatory life. Timeconsuming of them I'm thickheaded to ribbon to downhearted walls. When you're comfortable, you fixed firmly original artworks to try to make an impression in your home become more intense impress your guests. When you're romantic, you grasp postcards go in for artworks defer to stick enrich in your bedroom open to the elements suit yourself.
Léger has grow one promote to my pet painters. I was introduced to him pretty undue accidentally leash years recently, when I was reproducing William Carlos Williams'
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Simply Himself
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Léger’s true originality lay in his instinctive conviction that he could fashion any aesthetic tendency he encountered to suit the ongoing demands of his own art. In this he was on the whole astonishingly successful. He was born in rural Normandy in (the same year as Picasso). His earliest surviving canvasses, painted after he studied in Paris, show him working in a somewhat debased Impressionist fashion. Next, he responded briefly to Fauvism before succumbing to Cézanne, whom he initially reinterpreted in a reductive, even somewhat brutal manner. Cubism came to him as a revelation and he always saw himself as being one of the initiators of the movement. Because of his artistic stature, writers and above all exhibition organizers have tended to accept him as such. This has worked to his disadvantage. Picasso confided to Françoise Gilot that he, Braque, and Gris, the “Three Musketeers of Cubism,” saw Léger as being simply himself.
More than any other major figure in French art Léger responded to Italian Futurism. He also showed a greater awareness of successive developments in revolutionary Russian art; his own painting had played a part in provoking some of its initial explosions. After the First World W
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Peer Reviewed
From the Print Journal
Jun 29, By: Paula Amad
Volume 5, Cycle 2
© Johns Hopkins University Press
The cinema and aviation go arm in arm through life. They were born on the same day.
—Fernand Léger, “Speaking of Cinema”[1]
Fernand Léger’s curious throw-away line linking cinema and aviation appears in an essay he wrote in titled “Speaking of Cinema” (“A Propos du cinéma”), one of only a few short pieces that the artist, arguably the modernist painter most obsessed with the cinema, devoted entirely to film.[2] It would, therefore, seem to indicate that for Léger the key to unlocking cinema’s unique aesthetic potential lay in its mutually informing relationship with the origins and early evolution of aviation. At its broadest, this article asks: What can we learn from Léger’s coupling of cinema and aviation that adds to our understanding of the most fraught mode of modern perception—aerial vision—both at the point of its historical emergence and its controversial regeneration a century later? In order to answer this question, I historicize and theorize the forgotten conditions of possibility for Léger’s seemingly incongruous alliance of what most would today consider a mode of communication (cinema) and a mode of transportation (aviation). Beginning with a