Fernand Léger (1881-1955) - photo 1
Fernand Léger (1881-1955) - photo 2
Fernand Léger (1881-1955) - photo 3
Fernand Léger (1881-1955) - photo 4
Fernand Léger (1881-1955) - photo 5

Fernand Léger (1881-1955)

Lot 15
04.04.2023 16:00UTC +01:00
Classic
Sold
€ 182 700
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 929406
Lot 15 | Fernand Léger (1881-1955)
Estimate value
€ 150 000 – 250 000
Fernand Léger (1881-1955)

Nature morte dans la cuisine

signé, daté et inscrit ‘F.L. 51 A Mme et Monsieur Weber cordialement F Léger’ (en bas à droite)

gouache et graphite sur papier

64.1 x 50.1 cm.

Exécuté en 1951



signed, dated and inscribed ‘F.L. 51 A Mme et Monsieur Weber cordialement F Léger’ (lower right)

gouache and pencil on paper

25 1/4 x 19 3/4 in.

Executed in 1951





Provenance

Collection Weber, Zurich (don de l'artiste et jusqu'à au moins 1957).

Galerie Beyeler, Bâle (en avril 1967).

Collection particulière, Suisse (acquis auprès de celle-ci en décembre 1967).

Collection particulière, Suisse (vers 1990).

Puis par descendance au propriétaire actuel.



Literature

J. Cassou et J. Leymarie, Fernand Léger, Dessins et gouaches, Paris, 1972, p. 170, no. 251 (illustré en couleurs, p. 171).



Exhibited

Zurich, Kunsthaus, Fernand Léger, juillet-août 1957, no. 175 (dimensions erronées).



Special notice


Artist's Resale Right ("droit de Suite").
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Post lot text

Réalisée dans le style audacieux des peintures murales d’après-guerre de Fernand Léger, Nature morte dans la cuisine représente un ensemble d’éléments de nature morte devant un arrière-plan coloré. Exécuté en 1951, cette œuvre date d’une période durant laquelle l’artiste se lance dans un ambitieux programme artistique, travaillant non seulement sur des peintures monumentales et multi-figuratives aux couleurs franches, mais aussi sur des grandes peintures murales, des vitraux, mosaïques, sculptures ainsi que sur des céramiques et des oeuvres sur papier. En plus de ces commandes et de projets à grande échelle, Léger a aussi peint de nombreuses gouaches, comme celle présentée ici.
Les objets qui constituent la composition - une théière austère, accompagnée d’une plante verte et d’un panier de fruits - sont représentés avec des aplats de couleurs primaires délimitées d’épaisses lignes noires. En créant une impression d’espace au sein de la composition, ce mode de construction pictural résume bien le style tardif de Léger : comme il le disait « le noir et le blanc sont deux absolus entre lesquels je fais mon chemin… plus tard…. Le noir donne l’intensité requise et en m’appuyant dessus, j’ai réussi à forcer l’ouverture pour la couleur: au lieu de la délimiter avec des contours, j’ai pu la disposer librement ». (Léger, cité in P. de Francia, Fernand Léger, New Haven et London, 1983, p. 254). Ces éléments apparaissent au sein de plans ambigus mais reconnaissables, qui se fondent avec le sol en un seul et même espace.

Rendered in Fernand Léger’s bold, post-war ‘mural’ style, Nature morte dans la cuisine presents a group of still-life objects set against a coloured background. Executed in 1951, this work dates from a period when the artist had embarked on an ambitious artistic program, working not just on the multi-figural, boldly coloured monumental-sized paintings, but also on large murals, stained-glass windows, mosaics, sculptures and ceramics and work on papers. Alongside these commissions and large-scale projects, Léger also painted a number of gouaches, such as the present work.
The objects that constitute this composition – an austere tea-pot, accompanied by a green plant, a glass and a fruit basket – are depicted with areas of flattened, bold primary colour outlined with thick black lines. Creating the semblance of space within the composition, this mode of pictorial construction encapsulates Léger’s late style: as he stated, ‘black and white [are] two absolutes between which I go my way… Later…black gave the required intensity and by relying on it I was able to prise out the colour: for instead of circumscribing it by contours I was able to place it freely outside them’ (Léger, quoted in P. de Francia, Fernand Léger, New Haven & London, 1983, p. 254). These elements appear within a recognisable, yet spatially ambiguous plane, merging with the ground into a single, unified space.
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