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" ofmodern 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.

My era was one of great contrasts, and I am the one who made the most of it. I am witness of my time. --Fernand Léger

Edited by Carolyn Lanchner.
Essays by Carolyn Lanchner, Jodi Hauptman and Matthew Affron. Introduction by Beth Handler. Foreword by Glenn D. Lowry. ... Read more

Reviews (1)

Max Beckmann and Paris
Max Beckmann's status as one of the giants of modernist painting is unquestionable. In light of the persistent development of "Neo-Expressionism", as well as the increasing importance of German art upon the contemporary art scene, his place within the pantheon of 20th century art grown increasingly significant. This reevaluation of Beckmann's oeuvre has been accompanied by a slew of recent museum exhibitions, including a showing of his triptychs at the Guggenheim in 1997, the 2003 retrospective in Paris, London and New York, and the "Max Beckmann and Paris" exhibition (seen in Zurich and St. Louis) for which this book served as the catalog.
The goal of this book (and that of the exhibition it accompanied) is to explore the relationship of Max Beckmann to the artists and critics of the "school of Paris". The authors attempt to reject Beckmann's association with German Expressionism (and with the "provincial" world of German art in general) in a misguided attempt to elevate our opinion of his work by placing it instead within the "greater" context of the Paris-based modernist art as a whole. Comparisons are made between Beckmann's work and that of such contemporaries as Picasso, Braque, Leger, Matisse, and Rouault. The authors draw attention to similarities in theme and subject (the female nude, still life, the circus and theater), and to such formal issues as the handling of color and line. They also explore Beckmann's (often frustrated) attempts at achieving greater recognition by the art critics and public in Paris.
There are a number of interesting connections drawn between the works of Beckmann and that of his Parisian counterparts, especially through comparisons of individual paintings. The relationships revealed between Beckmann and Rouault are especially persuasive, yet this, in itself, argues against the author's goals, as Rouault was something of an outsider in the Paris art world, and more of an "expressionist" himself. Perhaps the strongest aspect of this book is its copious use of side-by-side color reproductions comparing works. Readers familiar with Beckmann, however, may be disappointed with the lack of consideration (or reproductions) of any the artist's most distinctive and/or characteristic works, such as his celebrated self- portraits, triptychs, and historical/mythological paintings.
Beckmann's stature does not need rescuing (in relationship to his French counterparts), because he stands clearly as one of the giants of Western art history. If you are looking for an introduction to Beckmann's art and his achievements, I would suggest you look elsewhere (perhaps the Museum of Modern Art's recent publication "Max Beckmann", or better yet, "Max Beckmann, Retrospective" published by Prestel-Verlag). If, however, you are well acquainted with Beckmann's work, this book offers a number of unique perspectives which might be of interest. ... Read more

Book Description

This digital document is an article from New Criterion, published by Foundation for Cultural Review on March 1, 1998. The length of the article is 2984 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: An exhibit featuring the works of painter Fernand Leger is described. The buoyancy of Leger's works is examined through his use of color, composition, subject matter and light. His rejection of the darker aspects of modernism are viewed within the context of his sentimentality and desire for social and political idealism.

Citation Details
Title: Leger's modernism.(Fernand Leger)
Author: Hilton Kramer
Publication: New Criterion (Magazine/Journal)
Date: March 1, 1998
Publisher: Foundation for Cultural Review
Volume: 16Issue: 7Page: 11(1)

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