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Fernand Leger - Painting in Space

Fernand Leger - Painting in Space

“The goal should be an understanding by all three parties: the wall, the architect and the painter”, observed the French artist Fernand Léger (1881–1955) in 1933. His projects reveal a willingness to try out new things and demonstrate his striving to extend painting beyond the boundaries of the easel and to integrate it into the social, everyday space. They shed new light on one of the influential artists of the twentieth century.

Fernand Léger, known for his Cubist paintings and his representational works of the mechanical period, was a trained architectural draughtsman who from the early 1920s until the end of his life made an intensive study of the interrelationships between painting and space. He was convinced that the social and psychological dimension in the use of colour contributed to a better integration of modern architecture into everyday life and human existence. In close dialogue with architects like Wallace K. Harrison and Le Corbusier he produced fascinating, often unexpectedly experimental and frequently abstract projects for houses, flats, churches, ships and world exhibitions.

Pris ved	1	Stk		500,00 DKK

Emne	Kubisme
Kunstner	Fernand Léger
Forfatter	Katia Baudin
Sprog	Engelsk
Illustrationer	528 ill.
Format / Sideantal	22.5 x 27 cm. / 312 s.
Udgivelsesår	2016
Indbinding	Hæftet
Forlag	Hirmer
Antikvarisk

Antal

Køb

ISBN	978-3-7774-2594-8
Lev.	3-5 dage

“The goal should be an understanding by all three parties: the wall, the architect and the painter”, observed the French artist Fernand Léger (1881–1955) in 1933. His projects reveal a willingness to try out new things and demonstrate his striving to extend painting beyond the boundaries of the easel and to integrate it into the social, everyday space. They shed new light on one of the influential artists of the twentieth century.

Fernand Léger, known for his Cubist paintings and his representational works of the mechanical period, was a trained architectural draughtsman who from the early 1920s until the end of his life made an intensive study of the interrelationships between painting and space. He was convinced that the social and psychological dimension in the use of colour contributed to a better integration of modern architecture into everyday life and human existence. In close dialogue with architects like Wallace K. Harrison and Le Corbusier he produced fascinating, often unexpectedly experimental and frequently abstract projects for houses, flats, churches, ships and world exhibitions.