Fernand Leger

Composed of geometric blocks of color against a striking yellow background, this stunning tapestry is notable for its sleek design, rich texture, and monumental size.

Combining architectural elements with still life imagery, Leger creates a stunning ceramic plaque. In his signature style, he fragments abstracted objects within a balanced composition.

Exemplifying his unique take on Cubism, this piece is representative of Leger's fascination with the mechanical and constructive. This brilliantly colored work contains elements of an urban environment, as we detect hints of a road, a ladder, and a building, all depicted in geometric forms that have been distorted and translated into an entirely new composition.

One of Leger's repeated subjects is the beautiful woman (in this case his wife Nadia) covering half of her face with one hand - a woman both hidden and revealed. This exemplary ceramic work displays Leger's mastery of color as he strategically places blocks of color across Nadia's visage, further shrouding her in mystery.

Bright and beautiful in red, white, black and blue glaze, this is a triumphant and dynamic ceramic sculpture that demonstrates the best of Leger's playful and imaginative style. Exhibiting Leger's mature style, this upright sculpture merges with its environment, radiating its innate energy into the room.

Leger strongly believed in the separation of his drawings from color - he felt that color should be its own free agent, traveling throughout the composition on its own terms. This unique one of a kind drawing and watercolor perfectly exemplifies this belief as certain areas become illuminated in yellows and greens that mimic natural lighting, shining down on this quaint suburban home.

This rare, trial proof work with hand-applied pochoir coloring is from a series of 15 works by Leger intended to illustrate a book of poems by author Arthur Rimbaud entitled Les Illuminations. Bold red and black abstracted forms surround the central text that ominously states 'Assassins | Le temps des voice (Assassins | The Time is Now), mimicking the tone of Rimbaud's poetry and serving as an fitting visual depiction for Rimbaud's words.

One of Leger's most stunning ceramics, this captivating piece depicts a beautiful woman conveyed solely through the colors of white and black. The sleek, shimmering white background is absolutely exquisite as the woman's hair seamlessly blends in, defined only by its slightly raised surface. The black lines that delineate the woman's face and hands contrast boldly with the white, highlighting her lovely features.

Some of Leger's most famous and important works surround the depiction of construction workers, and this magnificent print is no exception. Addressing such themes as the modernity of man and the reconstruction of bodies and landscapes, Leger creates an image defined by structure and the promise of progress and innovation.

One of Leger's core elements within his compositions is a lovely woman standing with another object. This work perfectly displays Legers mastery of this depiction, as we witness a beautiful woman conveyed in Leger's signature abstracted style standing next to a twisting plant. Leger places a natural object rather than a man-made one next to this woman, relaying an impression of harmonious coexistence between two living beings.

One of only three aquatint print editions ever created by Leger, L'enfant a l'accordeon exemplifies Leger's signature use of bold, black outlines to convey his subjects with slashes of thick blocks of bright, vibrant colors over them. This piece is noteworthy for Leger's curious sense of proportion, as he places a tiny child atop a gargantuan parent, both calmly gazing out at us as if preparing to perform a musical number for our viewing pleasure.

Focusing on the human form, Leger depicts four statuesque figures conveyed in his signature thick, abstracted style. This piece is remarkable for Leger's use of minimal ornamentation - he does not include flashy accessories aside from the flower and the accordion but rather chooses to focus on the human forms, which appear almost mechanical in nature, as if broken down into geometric parts that move in a mechanical fashion.

This outstanding print is instilled with an inherent juxtaposition - that between the natural and the abstracted. To the left Leger depicts blossoming sunflowers while to the right he stacks rectangles in a manner reminiscent of a modern building. This piece addresses Leger's fascination with concepts of modernity and construction within a landscape, yet ultimately Leger asks us to decide how to compromise these terms.

Subtle tonal gradations and bold imagery against a vibrant yellow background define this stunning print. The subject is fascinating as we witness a faceless woman on the left and a sculpture reminiscent of her form on the right. We imagine that the woman is perhaps preparing to carve a form in her likeness, as the two flanking figures perfectly echo one another, creating a beautifully balanced composition.

Incredibly bold both in color and form, this piece instantly commands the attention of the room. Undeniably a superb example of Leger's oeuvre, this piece contains fragments of varied objects - dominoes, a branch, and balls from the French game petanques - arranged harmoniously against a striking grey background.

Exemplifying his fascination with the mechanical within the natural, this intriguing work depicts a well constructed in a seemingly desolate desert landscape. An unusual subject matter to most, the concept of the well makes sense in the context of Leger's works, as it is a man-made "machine" constructed with a purpose - to provide water. This piece has a very southwestern feel, transporting us to the desert where this well is viewed as a sanctuary amidst the heat.

Towering skyscrapers contrast with a blooming flower in this remarkable work. This piece is noteworthy for Leger's use of depth and perspective to create an unusual composition - the flower front and center appears as if connected to a chain, preparing to pop out towards the viewer, while the buildings in the background almost seem to angle backwards, as if receding from our gaze.

Putting a new spin on one of his favorite subjects, Léger here depicts tree trunks and logs as objects in space rather than related to the ground. These forms appear fragmented and tilted in varied angles, addressing Leger's fascination with the concept of construction and reconstruction, as we mentally rearrange these objects to create new and fascinating visual representations.

This intriguing still life toys with the idea of different states of the same material. Colorful forms reminiscent of logs appear stacked in a pile while, in the center, we witness a figure that evokes the impression of white crumpled paper. By suggesting the presence of paper amidst tree branches, Léger depicts logs both in their natural and man-made forms and shows the versatility of the material nature of his subject matter.

Toying with space and depth, Leger presents an array of objects upon a table. This piece is curious as Leger's use of perspective is somewhat topsy-turvy - the table appears to have no end and the forms upon it seem to dip and dive through each other. Leger encourages us to use our imaginations to envision the space in which these objects reside, making this an engaging work that would be an excellent addition to any collection.

Brilliantly colored, this image represents an ongoing theme within Léger's body of work. In 1930 he began abstracting roots, tree trunks and other objects which commonly appear as dark central forms surrounded by fields of color. The gray root within this composition perfectly exemplifies this theme as its gnarled branches are surrounded by vibrantly colored objects that provide a striking contrast against the striped gray of the root.