{"id":4531,"date":"1994-05-29T11:03:53","date_gmt":"1994-05-29T09:03:53","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&p=4531"},"modified":"2021-01-21T15:22:03","modified_gmt":"2021-01-21T14:22:03","slug":"fernand-leger-le-rythme-de-la-vie-moderne-1911-1924","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/fernand-leger-le-rythme-de-la-vie-moderne-1911-1924\/","title":{"rendered":"Fernand L\u00e9ger. Le rythme de la vie moderne (1911\u20131924)"},"content":{"rendered":"\n
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Info<\/h2>\n\n\n\n

This exhibi\u00adtion, prepared in close coope\u00adra\u00adtion with the Kunst\u00admu\u00adseum in Basel, does not survey the whole career of Fernand L\u00e9ger (1881\u20131955) but concen\u00adtrates on his early works. This is the first exhibi\u00adtion exclu\u00adsi\u00advely devoted to L\u00e9ger\u2019s cubist, machine and classical paintings of the period 1911\u20131924.<\/p>\n\n\n\n\n\n\n\n

L\u00e9ger is one of the great artists of Modernism. His works achieve a synthesis of life, art, and society. Their forms express an entirely new artistic science: that of whole-hearted identi\u00adfi\u00adca\u00adtion with the rhythm of modern life, and with everyday humanity. The years 1911 through 1924 represent a high point of L\u00e9ger\u2019s artistic career. The first section of the exhibi\u00adtion traces the evolu\u00adtio\u00adnary process that culmi\u00adnated in L\u00e9ger\u2019s Contrast of Forms, works in which he contrasts solid objects, blocks, tubes, spheres with each other. The experi\u00adence of being a soldier in World War I led L\u00e9ger to abandon this kind of abstrac\u00adtion. Modern warfare waged macha\u00adni\u00adcally, with human beings en masse, utterly trans\u00adformed his world-view. Contact with machines (railroads, automo\u00adbiles, movie cameras, machine guns) caused percep\u00adtion itself to be mecha\u00adnized. One of the earliest examples of L\u00e9ger\u2019s machine period (1917\u201324) is the Card Players, from the Rijks\u00admu\u00adseum Kr\u00f6ller-M\u00fcller, Otterlo. In this master\u00adpiece, hitherto rarely seen outside the museum, human beings themselves look like robots. L\u00e9ger\u2019s paintings of the immediate postwar period are full of forms reminis\u00adcent of steam\u00adships, cranes, railroad viaducts, bridges, propel\u00adlers, engines, cylinders, ball bearing and cogwheels.<\/p>\n\n\n\n

The clear forms and glowing colours of the painting The Disks are elements of a machine in motion. L\u00e9ger does not illus\u00adtrate an engine but invents it, using purely pictoral means. Another dynamic interplay of contras\u00adting forms and colours is The Mecha\u00adnical Elements, one of his finest works, now in the \u00d6ffent\u00adliche Kunst\u00adsamm\u00adlung Basel.<\/p>\n\n\n\n

For L\u00e9ger, a painting was a beautiful object that had function autono\u00admously. This parti\u00adcu\u00adlarly applies to the classical figures in Breakfast and to the later \u201cHuman Machines\u201d. L\u00e9ger made no distinc\u00adtion between painting a person and painting a machine: to him, both were archi\u00adtec\u00adtural constructs of colour and form.<\/p>\n\n\n\n

In the works of his machine period, L\u00e9ger used filmic techni\u00adques such as wide-angle shots, close-ups, jump cuts, and staccato rhythms. He was so fasci\u00adnated by the motion-picture medium that he worked on a number of produc\u00adtions himself and in 1924 made a short film of his own, Le Ballet m\u00e9canique. A rhythmic visual sequence of objects, figures, fragmens of figures, and machine parts, this film will be an integral part of the exhibi\u00adtion at the Kunst\u00admu\u00adseum Wolfsburg \u2013 as well as L\u00e9ger\u2019s set designs for the Swedish Ballet in Paris.<\/p>\n\n\n\n

The exhibi\u00adtion Fernand L\u00e9ger 1911\u20131924 Le rhythme de la vie moderne contains some seventy paintings, and a dozen gouaches. A central work is the painting The Cit, from the Philadel\u00adphia Museum of Art, which has not been in Europe since 1956. Prestel-Verlag was publi\u00adshing a catalogue with essays by an inter\u00adna\u00adtional group of contributors.<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Info This exhibi\u00adtion, prepared in close coope\u00adra\u00adtion with the Kunst\u00admu\u00adseum in Basel, does not survey the whole career of Fernand L\u00e9ger (1881\u20131955) but concen\u00adtrates on his early works. This is the first exhibi\u00adtion exclu\u00adsi\u00advely devoted to L\u00e9ger\u2019s cubist, machine and classical paintings of the period 1911\u20131924. Info This exhibi\u00adtion, prepared in close coope\u00adra\u00adtion with the [\u2026]<\/p>\n","protected":false},"featured_media":5403,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"Fernand L\u00e9ger","exhibition_subtitle":"Le rythme de la vie moderne (1911-1924)","exhibition_alternative_text":"","exhibition_start_date":"1994-05-29T10:47:00","exhibition_end_date":"1994-08-14T10:47:00","exhibition_gallery":"","exhibition_poster":5196},"tags":[],"yoast_head":"\nFernand L\u00e9ger. 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