Fernand Leger La Partie de Campagne The Outing Derrière le miroir

$1,000.00

Artist: Fernand Léger (1896-1955)

Title: La Partie de Campagne

Medium: Lithograph in colours after a gouache from 1943

Year: 1955

Signature: monogrammed and dated in the stone (F.L. 55)

Publisher:DLM (121-122) Maeght, Paris, 1960

Dimensions:38 x 56 cm – 15 1/2 x 22 in (sheet)

Remarks: Original double-page lithograph on pages 12,13 of DLM Nos. 121-122. There is a fold line down the center, as issued.

Description

Artist: Fernand Léger (1896-1955)

Title: La Partie de Campagne

Medium: Lithograph in colours after a gouache from 1943

Year: 1955

Signature: monogrammed and dated in the stone (F.L. 55)

Publisher:DLM (121-122) Maeght, Paris, 1960

Dimensions:38 x 56 cm – 15 1/2 x 22 in (sheet)

Remarks: Original double-page lithograph on pages 12,13 of DLM Nos. 121-122. There is a fold line down the center, as issued.

Documentation/Reference:Saphire, Lawrence u. Mourlot, Fernand (preface), Fernand Leger. The Complete Graphic Work. Blue Moon Press, New York, 1978, pages 288 and 290, No. E 14

Fernand Leger: One of the most famous artists of the twentieth century, Fernand Leger was a leading painter, printmaker, stage designer, ceramicist and film maker. Fernand Leger was an early participant in Cubist exhibitions, dating from the year of 1909. He is now considered one of its major members but his curvilinear or tubular forms contrasted greatly with the fragmented imagery developed by Braque and Picasso. His experiences as a stretcher-bearer during the First World War further strengthened his convictions that modern art should be uncomplicated and accessible to all. Fernand Leger’s monumental and unique art continued to develop throughout the remainder of his great career. During the 1940’s and 1950’s he produced many fine lithographs, silkscreens and other forms of graphic art as well as continuing to teach, paint and design. The Outing (La Partie de Campagne) is one of Fernand Leger’s most famous original lithographs. Containing the influential elements of his late art — flat areas of colors and bold, almost robotic figures enclosed in thick, black lines — it is a riveting example of man within his society.

Framed

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