传记

分类帐出生在锌白铜,Orne,较低的诺曼底,他的父亲提出了牛。费尔南德•莱热成为一名建筑师最初从1897年到1899年,在1900年之前到巴黎,在那里他支持自己作为一个建筑绘图员。在军队服役凡尔赛宫,退休后在1902 - 1902年,他进入学院装饰艺术在他的申请美术学院被拒绝了。他仍然参加了美术non-enrolled学生,花费他描述为“三年空的和无用的”学习杰罗姆·和其他人,同时也在学习Academie朱利安.他开始认真工作作为一个画家只有25岁。在这一点上他的工作表现的影响印象主义马,勒查顿de仅仅1905年(我妈妈的花园),从这个时期为数不多的作品之一,他没有后销毁。一个新的强调绘画和几何出现在分类帐的工作后,他看到了塞尚回顾在沙龙d 'Automne在1907年。

1909 - 1914

1909年,他搬到了蒙帕纳斯和这样的领导人会面前卫的作为Archipenko,Lipchitz,夏卡尔,约瑟夫Csaky和罗伯特·德劳内。他这一时期的主要绘画是裸体在森林里(1909 - 10),在分类帐显示个人的形式立体主义他的批评者称为“Tubism”,它强调圆柱形式。

1910年,他在展出沙龙d 'Automne在同一个房间里(salle八世)琼Metzinger和亨利·勒叶维廉。1911年,委员会沙龙des独立放置在一起的画家将很快被称为“立体派”。Metzinger、Gleizes勒,德劳内和分类帐负责首次向公众揭示立体主义作为一个有组织的团体。

第二年他又展出沙龙d 'Automne与立体派,独立和与一些艺术家,包括亨利·勒叶维廉,琼Metzinger,艾伯特Gleizes,弗朗西斯近来杜尚的兄弟,雅克Villon,雷蒙德Duchamp-Villon和马塞尔·杜尚形成了普托集团也被称为节奖。(黄金分割)。

莱热的作品,从那时直到1914年,成为越来越多文摘。他们的管状、圆锥和立方形式的简洁地呈现在一个艰苦的补丁原色+绿色,黑色和白色,见这一系列作品的标题对比形式。莱热没有使用拼贴画技术由布拉克和毕加索.

1914 - 1920

莱热的经验在第一次世界大战对他的工作有很大的影响。动员服务在1914年8月法国军队他花了两年时间在前面阿贡.他创作了许多草图的火炮,飞机,而在战壕里的战友,画士兵管(1916)在休假。1916年9月后,他快死了芥子气攻击的德国军队在凡尔登。在一段时间的恢复期Villepinte他画了这张卡球员(1917),一个帆布的机器人一样,巨大的数据反映了他的矛盾心理战争的经验。他对此的解释是:

…我目瞪口呆的在阳光下的臀位75毫米。这是神奇的白色金属。这是我忘记了1912 - 1913年的抽象艺术。生硬、品种、幽默,和彻头彻尾的完美的男人在我周围,他们精确的功利的现实及其应用在生死攸关的戏剧中我们在…让我想漆俚语与所有它的颜色和机动性。

这项工作标志着他的“机械期”的开始,在此期间他画的人物和物体在光滑地管和机器的形式呈现的特征。从1918年开始,他也产生了第一个磁盘系列作品中,交通信号灯的磁盘暗示表现得很突出。1919年12月他娶了Jeanne-Augustine Lohy,1920年,他遇到了勒·柯布西耶,他仍将是一个终生的朋友。

1920年代

“机械”作品分类帐画在1920年代,在正式的清晰度以及受影响的母亲和孩子,女性裸体,人物有序风光是典型的战后”返回订单“在艺术,和链接他所代表的具象派绘画的法国传统普桑和柯罗.1921年在他的风景画动漫(动画景观),人物和动物和谐存在于景观组成的简化形式。额成分、公司轮廓,顺利混合颜色的这些画经常回忆的作品亨利·卢梭,艺术家分类帐大大赞赏,他遇到了1909年。

他们还与勒·柯布西耶和共享特征Amedee Ozenfant他们已经成立了纯粹主义、风格作为一个理性的、基于数学纠正立体主义的冲动。将古典与现代相结合,分类帐的裸体(1927)描绘了一个巨大的红色背景,面无表情的女人,机器般的形式和颜色。从这一时期他的静物画作品以稳定为主,联锁矩形结构在垂直和水平方向。1924年的虹吸,基于广告的静物画在大众媒体开胃酒金巴利,代表了纯粹审美的高水位线分类帐的工作。经典的平衡组成和槽的形状暗示列quasi-cinematic聚集在一起特写镜头一只手拿着一个瓶子。

作为一个现代的爱好者,分类帐是极大地吸引电影,有一段时间他想过放弃绘画,电影制作。在1923 - 24他设计一组实验室现场的马塞尔·L 'HerbierL 'Inhumaine(人性)。1924年,合作达德利墨菲,乔治Antheil,雷人分类帐,生产和导演标志性的和未来主义影响电影,芭蕾舞Mecanique(机械芭蕾)。抽象和叙事,它是一系列图像的一个女人的嘴唇和牙齿,普通物体的特写,重复的人类活动和机器的图片有节奏的运动。

会同Amedee Ozenfant他建立了一个免费的学校,他教从1924年开始,亚历山德拉克斯特和玛丽Laurencin。他产生了第一个“壁画”,1925年受勒·柯布西耶的影响的理论。打算被纳入多彩的建筑,他们是他最抽象绘画,平面区域的颜色似乎前进或后退。

1930年代

从1927年开始,莱热的工作的特点逐渐改变有机和不规则的形式承担更大的重要性。比喻的风格出现在1930年代完全显示在1935年的两个姐妹,和在一些版本的亚当和夏娃。以他特有的幽默,他描绘亚当条纹泳衣,或体育纹身。

1931年,莱热使他第一次访问美国,在那里他前往纽约和芝加哥。在1935年,现代艺术博物馆在纽约的展览他的作品。1938年,莱热委托装修纳尔逊•洛克菲勒的公寓。

战争年代

第二次世界大战期间分类帐住在美国。他教的耶鲁大学,发现小说中一系列新绘画的灵感的工业垃圾的景观。并列的自然形式的冲击和机械元素,在“吨废弃的机器用鲜花从内部出现,和鸟类栖息在他们“为他所谓的“对比法”。等这样的反差导致他的热情是1943 - 44的阶梯的树,1946年和浪漫的风景。1930年重复一篇作文,他画了三个音乐家(纽约现代艺术博物馆)在1944年。让人想起卢梭在其像字符,这幅画利用法律的对比现实的并列的三个男人和他们的乐器。

1945年他回到法国后,他加入了共产党.在此期间他的工作变得不那么抽象,他创作了许多不朽的人物作品描绘了流行的生活杂技演员、建筑商、潜水员,郊游。艺术史学家夏洛Kotik写了莱热的“描述普通人的决心,是一个社会主义理论的结果普遍前卫的二战前后。然而,分类帐的社会良知不是激烈的马克思主义者,但充满激情的人道主义者”。他的不同的项目包括书的插图,壁画,彩色玻璃窗,马赛克,彩色陶瓷雕塑,并设置和服装设计。

1950年代

他妻子死后1950年,分类帐结婚了Nadia Khodossevitch在1952年。在他生命的最后几年,他的演讲伯尔尼设计的马赛克和彩色玻璃窗委内瑞拉中央大学在加拉加斯,委内瑞拉画郊游,露营者和系列大游行。1954年他开始一个项目的马赛克圣保罗歌剧,他不会活到完成。弗尔南多分类帐家中去世,1955年被埋在温度,Essonne.

biography

Ledger was born in zinc white copper, or ne, Lower Normandy, and his father raised cattle. Fernander Leger became an architect from 1897 to 1899, and before 1900 he went to Paris, where he supported himself as an architectural draftsman. Serving in the army at Versailles Palace, after retiring in 1902 - 1902, he entered the Academy of decorative arts after his application to the Academy of fine arts was rejected. He still attended art non enrolled students, spending what he described as "three years empty and useless" to study Jerome and others, as well as Academie Julian. He began to work hard as a painter at the age of 25. At this point his work performance influenced the Impressionist horse, Le chaton de only in 1905 (my mother's garden), from which one of the few works he did not later destroy. A new emphasis on painting and geometry appeared in the ledger after he saw Cezanne review in salon d'automne in 1907.

1909-1914

In 1909, he moved to Montparnasse to meet such leaders as Archipenko, liphitz, shakar, Joseph Csaky and Robert Delaunay. His main painting of this period is naked in the forest (1909 - 10), showing the individual's form cubism in the ledger, which his critics call "tubism", which emphasizes the cylindrical form.

In 1910, he was on display in salon d'automne in the same room (Salle VIII) Joan Metzinger and Henry Llewelyn. In 1911, the painters who were put together independently by Council Salon des will soon be called "Cubists". Metzinger, gleizes, Delaunay and the ledger are responsible for the first public revelation of Cubism as an organized group.

The following year, he also exhibited salon d'automne and Cubism, independent and formed the Puto group with a number of artists, including Henry Llewellyn, Joan Metzinger, Albert gleizes, Francis's brother of Duchamp recently, Jacques Villon, Raymond Duchamp Villon and Marcel Duchamp, also known as the Festival Award. (golden section).

Leger's works, from then until 1914, became more and more abstracts. Their tubular, cone and cube forms are presented succinctly in a tough patchwork of primary colors + green, black and white, as seen in this series of works titled in contrasting forms. Leger did not use collage technology by Blake and Picasso

1914-1920

Leger's experience in the first World War had a great influence on his work. Mobilization services in August 1914 he spent two years in front of the French army in Argonne. He created many sketches of artillery, aircraft, and in the trenches of his comrades, drawing soldiers tube (1916) on vacation. After September 1916, he was about to die when mustard gas attacked the German army in Verdun. During a period of recovery Villepinte drew this card player (1917), a canvas robot like, huge data reflecting his experience of ambivalent psychological warfare. His explanation is:

... I gaped in the sun at the hip 75mm. This is the magic white metal. This is the abstract art that I forgot about 1912 - 1913. Rigid, variety, humor, and perfect men are all around me, their precise utilitarian reality and its application in life and death drama Let me paint slang with all its colors and maneuverability.

This work marks the beginning of his "mechanical period" in which he paints characters and objects in smooth tube and machine form. Since 1918, he also produced the first disk series of works, in which the disk hint of traffic lights is very prominent. In December 1919, he married Jeanne Augustine lohy. In 1920, he met Le Corbusier. He will still be a lifelong friend

1920s

In 1920s, the formal clarity and the affected mother and child, female nudity, and orderly scenery of characters were typical postwar "return orders" in art, and the French traditional Poussin and Coro who linked his representational paintings. In 1921, in his landscape painting animation (animation landscape), characters and animals harmoniously existed in the simplified form of landscape composition 。 The amount of ingredients, the company's silhouette, and the smooth mixing of colors of these paintings are often recalled by Henry Rousseau, who met 1909 with great appreciation in the artist's ledger.

They also shared features with Le Corbusier and Amedee ozenfanant, who had established purism and style as a rational impulse to correct Cubism based on mathematics. Combining classical with modern, the ledger's nudity (1927) depicts a huge red background, expressionless woman, machine like form and color. From this period, his still life paintings are mainly stable, with interlocking rectangular structure in vertical and horizontal directions. In 1924, siphon, a still life painting based on advertisement, represented the work of pure aesthetic high water line ledger in the mass media aperitif Jinbali. The classic balanced composition and groove shape suggest that the columns of quasi cinematic gather in close-up shots holding a bottle in one hand.

As a modern enthusiast, ledger is a great attraction to movies. For a while, he thought about giving up painting and movie making. In 1923 - 24 he designed a group of laboratory sites for Marcel L'Herbier l'inhumaine (human nature). 1924, collaboration with Dudley Murphy, George Antheil, ray ledger, production and director of iconic and futuristic influence films, ballet Mecanique (mechanical ballet). Abstract and narrative, it is a series of images of a woman's lips and teeth, close-up of ordinary objects, repetitive human activities and rhythmic movement of machine images.