Fernand Léger, Composition aux trois soeurs, Etat définitif, (Composition with three sisters, last condition), 1952, 162 x 130 cm, oil on canvas, Staatsgalerie Stuttgart, © VG Bild-Kunst, Bonn 2012.
From June 23 to November 4, 2012, the Museum Frieder Burda in Baden-Baden is presenting an exhibition of Fernand Léger (1881 Argentan–1955 Gif-sur-Yvette) and Henri Laurens (1885 Paris–1954 Paris), whose works had a major influence on art in the first half of the 20th century.
Henri Laurens, La grande maternité (The big pregnant woman), 1932, 50 x 48 x 137 cm, bronze. Museum Frieder Burda, Baden-Baden, © VG Bild-Kunst, Bonn 2012.
A comparação desses dois eminentes artistas, permite que o visitante redescubra os seus respectivos trabalhos criativos em duas áreas muito diferentes, mas sem dúvida complementares - a Pintura e a escultura.
The comparison of these two eminent artists enables the visitor to rediscover their respective creative work in two very different but no doubt complementary areas - painting and sculpture.
Fernand Léger, Composition I, 1930, 141 x 291 cm, oil on canvas, Fondation Beyeler, Riehen/Basel, Photo: Cantz Medienmanagement, Ostfildern, © VG Bild-Kunst, Bonn 2012.
Fernand Léger é um dos principais representantes do modernismo no início do século 20. Ele começou a trabalhar muito cedo, e em sua fase cubista, ele produziu imagens em com cores vibrantes (azul, branco, amarelo, verde), que ele definiu como "contrastes de forma" pinturas: um mundo fragmentado em que a máquina parece decididamente tomar seu lugar.
Fernand Léger is one of the outstanding representatives of modernism in the early 20th century. He began addressing his day and age in his works very early on, and in his Cubist phase he produced pictures in vibrant colors (blue, white, yellow, green), which he referred to as “contrast of form” paintings: a fragmentary world in which the machine seems to resolutely take its place.
Fernand Léger, Le pont du remorqueur 1er état (The bridge of the tug 1st condition), 1920/21, 73 x 92 cm, 93 x 112 cm (framed), oil on canvas, Private Collection Switzerland, © VG Bild-Kunst, Bonn 2012.
During World War II Fernand Léger works in New York, where he exercises an enormous influence on American art. He now uses radiant, pure colors, which soon free themselves from the forms to which they belong. A new world emerges.
Fernand Léger, Composition aux trois figures, fond bleu, (Composition with three figures, blue background), 1932, 71 x 89 cm, oil on canvas. Private Collection, France, © VG Bild-Kunst, Bonn 2012.
Fernand Léger, Composition aux deux perroquets, (Composition with two parrots), 1935-39, 400 x 480 cm, oil on canvas. Centre Pompidou, Paris, Musée national d’Art moderne / Centre de Création industrielle, © VG Bild-Kunst, Bonn 2012, bpk / CNAC – MNAM / Jacques Faujour.
Henri Laurens, La mère (The mother), 1935, 60 x 46 x 29 cm, bronze. Museum Frieder Burda, Baden-Baden, © VG Bild-Kunst, Bonn 2012.
Henri Laurens descobriu o cubismo já em 1908. Os grandes esforços que ele colocou em suas obras tridimensionais feitas de madeira e metal e o exame intenso de seu próprio trabalho o transforma num dos principais artistas que alteraram profundamente o nosso modo de enxergar e pensar em relação ao volume, espaço, e materia no início do século 20.
Henri Laurens discovered Cubism as early as 1908. The high demands he placed on his three-dimensional works made of wood and metal and his intense examination of his own work make him one of the leading artists to have fundamentally altered our mode of vision and thought with respect to space, volume, and material in the early 20th century.
Henri Laurens, L’Océadine (Oceanide), 1932-33, 214 x 107,3 x 111,8 cm (incl. Base), bronze. Staatliche Kunsthalle Karlsruhe, © VG Bild-Kunst, Bonn 2012.
Em 1910 ele conhece Fernand Léger, em Paris. Henri Laurens, que é um amigo de Georges Braque e Pablo Picasso, é considerado como um dos representantes mais importantes do cubismo. Ele produz obras feitas de terracota e pedra. Em 1921, ele rompe com o cubismo sintético e se volta para a figura humana e volume. Os anos 1930 são informados pelas maciças, composições dinâmicas, muitas vezes feitas de bronze, como L'Océanide / A Oceanid (1932 - 33).
In 1910 he meets Fernand Léger in Paris. Henri Laurens, who is a close friend of Georges Braque and Pablo Picasso, is regarded as one of the most important representatives of Cubism. He produces works made of terracotta and stone. In 1921 he breaks away synthetic Cubism and turns to the human figure and volume. The 1930s are informed by massive, dynamic compositions often made of bronze, such as L’Océanide / The Oceanid (1932 - 33).
Henri Laurens, Compotier de raisins (cup with grapes), 1918, 68 x 62 x 47 cm, painted wood and sheet metal. Privatsammlung, aufbewahrt im Musée national d/art moderne, Paris, © Galerie Louise LEIRIS, Paris, Archives Q Laurens, © VG Bild-Kunst, Bonn 2012.
Fernand Léger e Henri Laurens foram contemporâneos. Os dois artistas, cujo trabalho criativo foi moldado pelo espírito de liberdade, conheciam e respeitavam um ao outro.
Fernand Léger and Henri Laurens were contemporaries. The two artists, whose creative work was shaped by the spirit of freedom, knew and respected one another.
Fernand Léger, L'homme à la pipe (Man with the pipe), 1920, 91 x 65 cm, oil on canvas, Musée d’art Moderne de la Ville de Paris, © VG Bild-Kunst, Bonn 2012, Musée d'Art Moderne / Roger-Viollet.
Na exposição eles estão vis-à-vis num diálogo produtivo. O Museu Frieder Burda - um espaço dedicado à interação entre luz e espaço - assume um novo papel: tornar visível o que são paralelos inicialmente insuspeitos e sobreposições que em sua justaposição revelam o significado, inteligência e intuição desses dois artistas. Sua linguagem inovadora pictórica e formal continua a ter um impacto até hoje, tanto na pintura quanto na escultura.
In the exhibition they stand vis-à-vis in a productive dialogue. The Museum Frieder Burda - a venue devoted to the interplay between light and space - takes on a new role: making visible what are initially unsuspected parallels and overlappings that in their juxtaposition reveal the significance, intelligence, and intuition of these two artists. Their innovative pictorial and formal language continues to have an impact to this very day, both in painting as well as in sculpture.
Henri Laurens, La grande Musicienne (The Big Musician), 1937, 195 x 110 x 85 cm, bronze. private collection, © VG Bild-Kunst, Bonn 2012, bpk / CNAC – MNAM / Philippe Migeat.
A exposição inclui mais de 80 obras, incluindo empréstimos importantes do Centro Pompidou, em Paris, que possui uma importante coleção de obras de Henri Laurens e Fernand Léger. Grandes obras são apresentadas em Baden-Baden, incluindo a composição da pintura monumental / Composição com Dois Papagaios (1935 - 39) da coleção do Centro Pompidou, que está sendo mostrada na Alemanha pela primeira vez. Esta seleção é completada por outras obras de grandes museus europeus e coleções particulares.
The exhibition comprises more than 80 works, including important loans from the Centre Pompidou in Paris, which possesses a substantial collection of works by Henri Laurens and Fernand Léger. Major works are presented in Baden-Baden, including the monumental painting Composition aux deux perroquets / Composition with Two Parrots (1935 - 39) from the collection of the Centre Pompidou, which is being shown in Germany for the first time. This selection is supplemented by further works from large European museums and private collections.
Fernand Léger, Femme tenant un vase (Woman with vase), 1924-27, 130,6 x 89,5 cm, oil on canvas. Kunstmuseum Basel. Donation Dr. h.c. Raoul La Roche 1963. Kunstmuseum Basel, Martin P. Bühler. © VG Bild-Kunst, Bonn 2012.
Esta exposição, organizada especificamente para o Museu Frieder Burda, com o apoio excepcional do Centro Pompidou, é a primeiro a juntar Fernand Léger e Henri Laurens num diálogo vivo e fértil. Ela está sendo comissariada por Jean-Louis Prat, ex-diretor da Fondation Maeght, que já montou exposições de Chagall.
This exhibition, organized specifically for the Museum Frieder Burda with the exceptional support of the Centre Pompidou, is the first to join Fernand Léger and Henri Laurens in a lively and fertile dialogue. It is being curated by Jean-Louis Prat, former director of the Fondation Maeght, who has already mounted the exhibitions Chagall.
Fernand Léger, Contraste de formes (Contrast of forms), 1914, 80,7 x 65,2 cm, oil on canvas, Kunstsammlung Nordrhein-Westfalen, Düsseldorf , © VG Bild-Kunst, Bonn 2012.
A exposição é acompanhada por um catálogo completo (alemão e francês), com ilustrações a cores de todas as exposições, bem como numerosos textos, biografias e comentários. Hatje Cantz, Ostfildern, 208 páginas, 29 euros no museu.
The exhibition is accompanied by a comprehensive catalogue (German and French) with color illustrations of all the exhibits as well as numerous texts, biographies, and commentary. Hatje Cantz, Ostfildern; 208 pages, 29 euros at the museum.
Henri Laurens, Tete de Femme (Frauenkopf), 1920, 35 x 14.5 x 10 cm (incl. Base), Terrakotta. Centre Pompidou – Musée national d'art moderne, Paris, Schenkung Daniel-Henry Kahnweiler, 1967, © bpk / CNAC – MNAM / Adam Rzepka, © VG Bild-Kunst, Bonn 2012.
Henri Laurens, L’Automne (Autumn), 1948, 80 x 170 x 57 cm, bronze. Centre Pompidou, Paris, Musée national d’Art moderne / Centre de Création industrielle.© VG Bild-Kunst, Bonn 2012, bpk / CNAC – MNAM / Adam Rzepka.
Fernand Léger, La Baigneuse (Bathing woman), 1932, 98 x 130 cm, oil on canvas, Musée National Fernand Léger, Biot, © VG Bild-Kunst, Bonn 2012, bpk / Gérard Blot
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