Fernand
Leger (1881-1955) made his first prints in 1920 when he was 39 years
old. Following World War I Leger created a great number of lithographs and etchings, mostly illustrations
for books of fiction and poetry. Leger's output of graphic works slowed in the 1930's and 40's due
to a contract he had with his art dealer and editor, Henry Kahnweiler, that stipulated he make paintings rather than lithographs.
During this time Fernand
Leger created only four original prints, and made illustrations for only four books.
In 1948, Fernand Leger
produced the first of 22 color lithographs edited by Kahnweiler's
Galerie Louise Leiris in Paris.
What was unique about Fernand Leger's lithographs, was that he created a great number of them and
used vibrant colors. His contemporaries: Miro, Picasso, Braque and Chagall, did not at this time incorporate color into
their prints to the extent Leger did.
His lithographs from this period are charcterized be thick outlines,
often drawn with a wide brush or pen, and by colors applied
such that they display no depth. His colors, while often classified as primary,
in reality vary subtley in hue. Leger's method of coloring was to provide the printer
with a marquette, a colored black proof of the lithograph or a gouache
of the subject. Apparently, working in collaboration with the printer, Leger usually laid the color on flat,
paying close attention to the color set up, and stayed to oversee the entire printing process.
Ballet Mecanique by Fernand Leger
Ballet
Mecanique, produced and directed by French modernist painter Fernand
Leger, and photographed by Dudley Murphy (and, possibly, Man Ray)
was begun in 1923 and completed in November 1924. Kiki, the famous
Parisian model and subject of many of Ray’s photographs appears
in the film, as does Dudley Murphy. A classic of experimental, avant-garde
filmmaking (including one of the first known examples of loop-printing),
the film originally was accompanied by the music of George Anthiel.
Accompanying this screening is the music of Erik Satie. As described
by Edward S. Small, Ballet mecanique is “a brief, non-narrative
exploration of cubist form, black and white tonalities, and various
vectors through its constant, rapidly cut movements and compositions.
Many of the film’s forms and compositions are reflected in--or themselves
reflect--forms and compositions in Leger’s famous cubist paintings
from the period.
The film flashes through over 300 shorts in less
than 15 silent minutes. The subjects of these fleeting images are
diverse and difficult to quickly catalog: bottles, hats, triangles,
a woman’s smile, reflections of the camera in a swinging sphere,
prismatically crafted abstractions of light and line, gears, numbers,
chrome machine (or kitchen) hardware, carnival rides, shop mannequin
parts, hats, shoes, etc. All interweave a complex cinematic metaphor
which bonds man and machine.
Fernand
Leger (1881-1955) made his first prints in 1920 when he was 39 years
old. Following World War I Leger created a great number of lithographs and etchings, mostly illustrations
for books of fiction and poetry. Leger's output of graphic works slowed in the 1930's and 40's due
to a contract he had with his art dealer and editor, Henry Kahnweiler, that stipulated he make paintings rather than lithographs.
During this time Fernand
Leger created only four original prints, and made illustrations for only four books.
In 1948, Fernand Leger
produced the first of 22 color lithographs edited by Kahnweiler's
Galerie Louise Leiris in Paris.
Ballet
Mecanique, produced and directed by French modernist painter Fernand
Leger, and photographed by Dudley Murphy (and, possibly, Man Ray)
was begun in 1923 and completed in November 1924. Kiki, the famous
Parisian model and subject of many of Ray’s photographs appears
in the film, as does Dudley Murphy. A classic of experimental, avant-garde
filmmaking (including one of the first known examples of loop-printing),
the film originally was accompanied by the music of George Anthiel.
Accompanying this screening is the music of Erik Satie. As described
by Edward S. Small, Ballet mecanique is “a brief, non-narrative
exploration of cubist form, black and white tonalities, and various
vectors through its constant, rapidly cut movements and compositions.
Many of the film’s forms and compositions are reflected in--or themselves
reflect--forms and compositions in Leger’s famous cubist paintings
from the period.