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Editorial Reviews
The New York Times Book Review, Zoe H. Rice
The reproductions in Fernand Léger show that his art went beyond Cubist shapes, primary colors and machine imagery; his merging of Cubist stasis with undulating volume can only be called masterly. Book Description Fernand Léger is the only major modern artist to choose modernity itself as his subject. From his early series Contrastes de formes of 1913-14--the first fully abstract works to emerge from Cubism--through his paintings of construction workers from the late 1940s and early 1950s, his enduring subject was the pulse and dynamism of everyday life. Léger saw the 20th century environment as a "state of contrasts," a condition that he translated into art through forceful juxtaposition of shape, color, and line. His attempt to reconcile the formal concerns of artmaking with issues of social responsibility continues to be relevant to the art world of today. Accompanying texts recount Léger's experience of and interest in America and America's interest in him; explore refractions of Léger's interests in the work of more recent artists; and discuss Léger's ambition to make an art reflecting the "new visual state" of modern life. An illustrated chronology tells the story of the artist's life, focusing on his time in America, the plate section is complemented by a series of short essays tracing the formal and thematic developments in his art, and a selected bibliography and detailed exhibition history complete the book.This book was published to accompany the 1998 retrospective at The Museum of Modern Art, New York. Edited by Carolyn Lanchner.
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