Description of Fernand Léger’s artwork: Composition

Fernand Léger was a French painter who started his career as an architect. He was then in a military service in Versailles and applied at the Ecole Beaux-Arts where he got rejected. In spite of being rejected, he attended as a non-enrolled student. He started working as a painter at the age of 25, where his works showed the influence of Impressionism as seen in few of his paintings.

Working in Paris throughout the peak of an art movement, Fernand Leger painting vogue, with its stress on primary colours and rounded, huge forms, has become informally considered “Cubism.” Even at their most abstract, Léger’s subjects square measure easier to acknowledge that the rigorous Cubist dissections of carver and Braque, and also the accessibility and modern subject material of his works have led several to explain Léger as each advocate and a forerunner of Pop Art. curious about fashionable innovation, Léger joined the Puteaux Cubists, partaking with parliamentarian Delaunay, Francis Picabia, and Jean Metzinger, among others. His interest in business and machines was more inspired by the Italian Futurist painters, and by his military service for France throughout warfare I. Léger would later return additional ancient subjects—including the feminine nude, landscape and still life—these works maintained his characteristically daring vogue.

Léger normally painted many totally different variations on every one of his pictorial ideas, and lots of equivalent parts during this painting seem in four others, organized in similar interrelationships. except for what seem to be rods, wires, and also the stencilled letters P, U, and V (presumably taken from some poster or sign discovered on the street), it's not possible to spot specific objects. decision making from Léger’s additional expressly objective works of the immediate post–World War I era, however, the colourful fragmented and divided forms, all geometrical in define, square measure presumably associated with parts of recent machinery and design. Already before the war, in a very lecture given in Paris.

This painting depicts associate anonymous employee standing along with his back to the viewer, presumptively typesetting the red-and-white letters before of him. the colourful divided oval at the middle is that the man’s hat. His ear is diagrammatic by a grey, tube-like form, and his body part is delineated in red at lower centre. Léger saw all around him in post-war Paris-- the dazzling brilliance of the centre scene, that in its scale and graphics power emulates the posters and billboards which is seen in the dark perimeter of the outsized canvas. Léger created several changes to the composition, possible performing on it in 1919, despite the chemical analysis on the lower right.