Fernand Léger, ‘Composition au compas’, 1932, HELENE BAILLY GALLERY

Signature: Signed and dated lower right : F. Léger ; 32. Re-signed, dated and titled on the back : F. Léger ; 32 ; Composition au compas.

Fernand Léger, Moderna Museet, Stockholm, 1964, n°48. Label on the back, loan from the Louise Leiris Gallery, Paris.
Fernand Léger : Retrospective Exhibition, 1881-1955, International Galleries, Chicago, November-December 1966, n°30. Label on the back.

Fernand Léger : Retrospective Exhibition, 1881-1955, Exhibition Catalogue, International Galleries, Chicago, 1966, illustrated under the n°30, p.30.
Fernand Léger : Catalogue Raisonné de l'oeuvre peint, 1932-1937, Georges Bauquier, Maeght Editor, Paris, 1996, illustrated under the n°808, p.33.

Louise Leiris Gallery, Paris, n°14612 - photo ref. n°30430. Label on the back.
Private collection.

About Fernand Léger

Working in Paris during the height of Cubism, Fernand Léger’s iconic style, with its emphasis on primary colors and rounded, massive forms, has become informally regarded as “Tubism.” Even at their most abstract, Léger’s subjects are easier to recognize than the rigorous Cubist dissections of Pablo Picasso and Georges Braque, and the accessibility and contemporary subject matter of his works have led many to describe Léger as both populist and a forerunner of Pop Art. Interested in modern innovation, Léger joined the Puteaux Cubists, engaging with Robert Delaunay, Francis Picabia, and Jean Metzinger, among others. His interest in industry and machines was further encouraged by the Italian Futurist painters, and by his military service for France during World War I. While Léger would later revisit more traditional subjects—including the female nude, landscape and still life—these works retained his characteristically bold style.

French, 1881-1955, Argentan, France, based in Paris, France

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