The machine-age classicist — Cubism rebuilt with engine-part polish, and the postwar call to order answered in industrial gray.
Painting · Return to Order
Three monumental nudes lounge around a low table, their bodies assembled from polished cylinders and spheres. Léger turns the classical reclining nude into a machine-age image of order — calm, impersonal, and unmistakably modern.
Supported by · 1922
Léger designed the sets and costumes for two of the company's defining productions, Skating Rink in 1922 and La Création du monde in 1923. De Maré commissioned and paid for both.
Met
In 1912 Duchamp visited the Salon de la Locomotion Aérienne with Léger and Brâncuși, where — standing before a propeller — he remarked that painting was finished and asked who could make anything better.
Collaborated with · 1924
Murphy co-directed Ballet mécanique with Léger and shot it. Léger supplied the machine-age subject; Murphy, an American cameraman, supplied the technique.
Art movement · 1907–1914
One of Cubism's distinctive figures before the war, and one of the painters through whom the style spread after it. His variant ran to tubes, machinery, and the modern city rather than the café table.
Associated with
One of Cubism's distinctive figures before the war, and one of the painters through whom the style spread after it. His variant ran to tubes, machinery, and the modern city rather than the café table.
Worked at · 1927
Léger was among the artists of the quarter — 33 by the standard count — who painted the pillars of the new brasserie for its December 1927 opening.
Supported by · 1922
Léger designed the sets and costumes for two of the company's defining productions, Skating Rink in 1922 and La Création du monde in 1923. De Maré commissioned and paid for both.
Met
In 1912 Duchamp visited the Salon de la Locomotion Aérienne with Léger and Brâncuși, where — standing before a propeller — he remarked that painting was finished and asked who could make anything better.
Collaborated with · 1924
Murphy co-directed Ballet mécanique with Léger and shot it. Léger supplied the machine-age subject; Murphy, an American cameraman, supplied the technique.
