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Signed Color Aquatint By Fernand Leger
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Signed Color Aquatint By Fernand Leger
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L'Oiseau Magique", 1953, color aquatint, 556x364 mm; 21 7/8" x 14 1/4", full margins. Signed in ink and numbered 47/75 in pencil, lower margin, aquatint colored by serigraphy (Haasen, Paris). A very good impression (with registration pin marks top and bottom, printer's thumb impression lower margin) with strong and vibrant colors [Saphire 129]. Fernand Leger (1881-1955) was born in Argentan, Normandy. In 1900 he moved to Paris where he worked as an architect's draughtsman while he studied at the Ecole des Arts Decoratifs and the Academie Julian. In 1909, Leger met Robert Delaunay and became a key figure of Salon Cubism. He produced works for the Salons in 1911 and 1912. In 1913, Leger created Contrasts of Form which is one of the earliest near-abstract works earning him the label "tubist". Leger fought in World War I and was outraged by the carnage he witnessed. After the war, he became interested in Purism, which resulted in his works becoming more structured and ordered. He was a brilliant art lecturer. He spent World War II in the United States returning to France after the war. Leger was one of the major contributors to the Cubist style. Always an independent-minded artist, he extended his own variety of Cubism to include powerfully modeled forms. His later works gave way to flat patterns of brilliant color upon which he chiefly used strong linear definitions. He was a major influence in the revival of color lithography and graphics after World War II. Much of his earlier work prefigured the art of the 1960s. The clarity of his expression are a distinctive phenomenon in modern art. "L'Oiseau Magique" was colored by serigraphy. The Atelier Paul Haasen is not only noted for its intaglio work, but under Raymond Haasen for its serigraphy. When Leger came to make "L'Oiseau Magique", they were colored by serigraphy after his marquettes. According to Raymond Haasen, Leger became fascinated with the "velo", a multi-branched burin, which gives relief to the wide black areas, which is evident in "L'Oiseau Magique". The subject is closely modeled after one of several 'bird' costume designs Leger had made for the Ballets Suedois production of La Creation du Monde (1923). Leger's idea was to model the sets and costumes on authentic African images. While studies Leger made for the ballet do not carry written titles for this bird beyond the words "creation du monde", Hermine Chastenet recounts that Leger decided to call this aquatint "L'Oiseau Magique". This Leger is in a 28 3/4" x 37 3/4" flat black finished contemporary triangular frame with a wide gild over dark red/brown burnt sienna gilded bevel. The outer black on blue core and inner black on red core mats are acid and lignin free and are protected with Acrylite-AR OP3 (UV) by CYRO.
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