1881–1955 · Cubism. Wikipedia
Joseph Fernand Henri Léger was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art.
The Tugboat (French: Le Remorqueur) is an oil on canvas painting by French painter Fernand Léger, from 1920. It is held at the Museum of Grenoble, which purchased it from the artist, in 1928. Léger was impressed by the universal exhibitions of the early 20th century. Like Marcel Duchamp, he was inspired by the machines that he saw at the fourth exhibition of aerial locomotion, which took place in Paris just before the First World War.
The City (French: La Ville) is an oil on canvas painting by French painter and sculptor Fernand Léger, from 1919. The painting is a Cubist perspective of a city. It is held in the Philadelphia Museum of Art. Albert Eugene Gallatin donated the piece to the museum in 1952 and it has also been shown at the Guggenheim Museum. In reviews of the Guggenheim exhibit, both The City and other works in the show were praised.
Still Life with Candlestick (French: Nature morte aux chandeliers, Nature morte, chandeliers, Nature morte au chandelier, Le chandelier) is an oil on canvas painting created in 1922 by the French artist Fernand Léger. This painting was stolen on 20 May 2010 from the Musée d'Art Moderne de la Ville de Paris. The museum reported the overnight theft of five paintings from its collection, valued at €100 million ($123 million USD), though this figure may be conservative.
Man and Woman is an oil-on-canvas painting executed in 1921 by the French artist Fernand Léger. The painting is a cubist portrait of a man and a woman locked in a passionate embrace at odds with their depersonalized, industrialized setting. The painting is held by the Indianapolis Museum of Art, United States. Léger rejected many aspects of cubism, such as multiple simultaneous vantage points, but retained the trait of reducing figures to their most basic, geometric components. To that end, the woman in this painting consists of curves and the color orange, while the man is depicted in columns and blue. They are scarcely distinguishable from the background, an industrial latticework of beams and girders. In this way, Léger illustrated his belief that, although it might be a struggle, humans could maintain their humanity in a mechanized age, coexisting with technology and burgeoning urbanization. Léger's technique underscores this message, with flat brushwork emulating mass production. The disjointed figures force rapid visual shifts, which simulates the increasing sensory complexity of the machine age.
w:Fernand Léger, 1911-1912, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm
Soittimia, 1926
La partie de cartes, 1917 Soldiers Playing Cards
Fernand Léger, 1910, Nudes in the forest (Nus dans la forêt), oil on canvas, 120 x 170 cm, Kröller-Müller Museum, Otterlo, Netherlands
Le Cirque Médrano 1918
Les maisons dans les arbres. Paysage No 3, 1914Häuser zwischen Bäumen. Landschaft Nr. 3 Houses among Trees. Landscape No. 3
L'escalier, 1914Die Treppe The Staircase
The Level Crossing (Le Passage à niveau)