Фернан Леже цитаты

„Ошибкой в живописи является сюжет. Ошибка кино — сценарий. Освобождённое от этого груза, кино может стать гигантским микроскопом вещей, никогда не виданных, никогда не ощущаемых.“

„Пока человеческое тело рассматривается как сентиментальный или выразительный знак в живописи, эволюция в изображении людей будет невозможна. Её развитие сдерживается доминированием субъекта на протяжении веков.“

„Роман на экране это принципиальная ошибка, связанная с тем, что большинство режиссёров литературны по своему происхождению и получили литературное образование. Они приносят в жертву такую великолепную вещь, как «движущееся изображение», чтобы навязать нам историю, для которой книга — куда лучшее место. И снова эта злосчастная «экранизация», столь удобная, но останавливающая любое новшество.“

“One day I had painted a bunch of keys on a canvas, my bunch of keys. I didn't know what to put next to them. I needed something that would be the absolute opposite of a bunch of keys. So when I finished work I went out. I had only walked a few yard when what should I see in a shop windows? A postcard of the Mona Lisa! At once I knew that was what I needed; what could have made a greater contrast to the keys?... Then I also added a can of sardines. It was such a strong contrast.”

Фернан Леже: Цитаты на английском языке

“The love of simplicity, precision and clarity, is totally Western. Today's rational plastic form does not come from the Mediterranean or the Orient; it comes from the North [of France]. The North, younger, quicker less subtle, has seen straight to the heart of the new problem of construction that is posed by modern life.”

on his painting 'La Joconde aux Clés'
Quote from La vie fait de l'Oeuvre de Fernand Léger, Dora Vallier, 'Cahiers d'Art', 2, 1954, p. 153
Quotes of Fernand Leger, 1950's

“It is a true, incorruptible purism... It is a religion that cannot be argued about. It has its saints, its disciples and its heretics. Modern life with its speed and tumult, dynamic and full of contrasts, beats furiously against this light, luminous, delicate structure, which emerges coldly from the chaos. Do not touch it, it is an accomplished fact. It had to be, it is there to stay.”

Quote from: 'Actualités, Fernand Léger', in 'Varietés nr. 1', 1928, pp. 523-524
Quotes of Fernand Leger, 1920's

“Naturally, in order to find in this break [in the visual perception] with time-honored habits a basis for a new pictorial harmony and a plastic means of dealing with life and movement, there must be an artistic sensibility far in advance of the normal vision of the crowd.”

quote, 1945
Quote, 1945 of Fernand Leger, in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 33
Quotes of Fernand Leger, 1940's

“It is an outrage towards the masses.... It's wanting to treat them as though they're incapable of raising themselves up to this new realism [promoted by Léger and Le Corbusier ] which is that of their area, which they've made with their hands... To want to say to these men 'the modern is not for you it's an art for the rich bourgeoisie..”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“From the day that the impressionists liberated painting, the modern picture set out at once the structure itself on contrasts; instead of submitting to a subject, the painter makes an insertion and uses a subject in the service of purely plastic means.... [the contemporary painter] must prepare himself in order to confer a maximum of plastic effect on means that have not yet been used. He must not become an imitator of the new visual objectivity, but be a sensibility completely subject to the new state of things.”

attack on the notion of Social Realism art
Quote, c. 1949, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 58
Quotes of Fernand Leger, 1940's

“These new means [in the modern film, 1920's] have given us a new mentality. We want to see clearly, we want to understand mechanisms, functions, motors, down to their subtlest details. Composite wholes are no longer enough for us – we want to feel and grasp the details of those wholes – and we realise that these details, these fragments, if seen in isolation, have a complete and particular life of their own... Close-ups in the cinema are a consecration of this new vision... A shoe as beautiful as a picture. A picture as beautiful as an X-ray machine.”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“.. between ourselves, do you think a worker wants to hang a picture in his home where he sees himself sweating in a factory? He would prefer a bouquet of flowers or a pretty landscape. [Leger's critic on Aragon's Social Realism ]”

Quote from: 'Actualités, Fernand Léger', in 'Varietés nr. 1', 1928, pp. 522-23
Quotes of Fernand Leger, 1920's

“It's not a country – it's a world. It's impossible to see the limits... It's only in Russia that I had a similar impression, but it wasn't the same thing. In America you are confronted with a power in movement with force in reserve without end. An unbelievable vitality - a perpetual movement.”

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 67
Quotes of Fernand Leger, 1950's

“The age we live in is largely – and I think mostly – 'objective', but a minority is reacting against this... My feeling is that I made colour – the colour plane – 'objective' in 1918, 1920 and 1921. There is a feeling of objectivity in all the great Primitives – but in 'the subject' there is no solution for the object, which has so much intrinsic value that it is 'highly explosive'; it destroys all the things around it, unless they have been designed specifically to serve as a setting for it.”

Quote from: Letter from France, vol. 84, No 4, April 1946, pp. 46-62
Quotes of Fernand Leger, 1940's

“When one crosses a landscape by automobile or express train, it becomes fragmented; it loses in descriptive value but gains in synthetic value. The view through the door of the railroad car or the automobile windshield, in combination with the speed, has altered the habitual look of things. A modern man registers a hundred times more sensory impressions than an eighteenth-century artist; so much so that our language, for example is full of diminutives and abbreviations.”

Quote from a letter to Simone Herman, 3 September, 1933, as in quoted Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 28
Quotes of Fernand Leger, 1930's

“.. the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing.”

Quote, 1914, in 'Functions of Painting by Fernand Leger; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“They are not like the – patron’s hands or the – blessing hands of the curate – They resemble their tools, mountains, tree trunks… The time is approaching when machines will – work FOR them – Then he will have hands like his boss – WHY NOT? – He's on the way – HIS LIFE begins TODAY [written text in his painting 'Les mains – hommage a Majakovski', 1951 - [ Vladimir Mayakovsky was a Russian Futurist poet].”

Quote from: 'L'ésthetique de la Machine - l'Ordre Géometrique et le Vrai', in Propos d’Artistes, 1925
Quotes of Fernand Leger, 1920's

“An example: if I compose a picture using as objects a scrap of bark, a scrap of butterfly wing and a purely imaginary form, you probably won't recognise the bark, or the butterfly wing, and you'll say: 'What does this stand for? It is an abstract picture. No it's a representational picture'... There is no such thing as 'abstract', or 'concrete' either. There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold... A picture has a value in itself, like a musical score, like a poem.”

Quotes of Fernand Leger, 1950's
Источник: Fernand Léger – The Later Years -, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 68

“The compression of the modern picture, its variety, its breaking up of forms... It is certain that the evolution of the means of locomotion and their speed have a great deal to do with the new way of seeing. Many superficial people raise the cry 'anarchy' in front of these pictures because they cannot follow the whole evolution of contemporary life that painting records.”

Quote in Un Nouveau Realisme, la Couleur Pure et l'Object, Fernand Léger, Ms 1935
Quotes of Fernand Leger, 1930's

“.. it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today... The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.... this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast.”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“The essential is the object. Error consists in forgetting that grain, cotton, wool are vital objects and in being interested in them only because of their value in gold, their speculative value. The economic purpose is not 'to make millionaires out of gasoline' but to distribute gasoline according to demand and need. [Wall street] is an abstraction.”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future”

Quote from exhibition catalogue, John Becker Gallery, New York, March 1933
Quotes of Fernand Leger, 1930's

“It is from.... Renaissance that individualism in painting dates; and I do not believe there is any use in looking in this direction if we desire to bring into being a fresh mural art, one that shall be at once popular, collective and contemporary.”

Fernand Léger – Das Figürliche Werk, exhibition catalogue, Köln, 1978, p. 52
Quotes of Fernand Leger, 1970's

“I venture out to the great 'sujet'; but, I repeat, my painting always remains object painting; it starts around 1936 with 'Adam et Eve'. My figures humanise themselves further, but I always stick to the pictorial circumstance – no eloquence, no romanticism”

Quote from The New Realism goes on, F. Léger, Art Front, February 1937 pp. 7-8
Quotes of Fernand Leger, 1930's

“The mural artist is concerned with bringing to life dead surfaces by the application of colour.”

Bekentnisse und Gespräche, Fernand Léger, André Verdet, Zürich 1957, pp. 32-33
Quotes of Fernand Leger, 1950's

“The time of the often criticized art without real subject [l'art pour l'art] and the art without object [ Abstract art ] seems to be over. We are experiencing a new return to the meaningful subject, which the common people can understand”

Revival of Mural Art, The Listener, August 25, 1937 Vol. XVIII. No. 450, pp. 408-409
Quotes of Fernand Leger, 1930's

“I dispersed my objects in space and got them to hold together by making them radiate forwards, out of the picture. It's all an easy interplay of chords and rhythms made up of foreground and background colours, of conducting lines, of distances and of contrasts.”

Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 12
Quotes of Fernand Leger, 1980's

“Contrast = dissonance, and hence a maximum expressive effect. I will take as an example a commonplace subject: the visual effect of curled and round puffs of smoke rising between houses. You want to convey their plastic value... Here you have the best example on which to apply research into multiplicative intensities. Concentrate your curves with the greatest possible variety without breaking up their mass; frame them by means of the hard, dry relationship of the surfaces of the houses, dead surfaces that will acquire movement by being colored in contrast to the central mass and being opposed by live forms; you will obtain a maximum effect.”

Quote from Exhibition catalogue Fernand Léger, Paris 1972, p. 91
Quotes of Fernand Leger, 1970's

“I myself have employed the close-up, which is the cinema's only real invention. The fragment of the object has also been of use to me; by isolating it you personalize it. All this work has led me to regard the phenomenon of objectivity as a new and highly contemporary value in itself”

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

quote of c. 1927
Quote in 'Autour de Ballet Méchanique', as quoted in Fernand Léger – The Later Years -, catalogue ed. Nicolas Serota; published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, pp. 21-22
Quotes of Fernand Leger, 1920's

“I was attracted to Romanesque sculptures, to the complete re-invented figures and the freedom with which the Romanesque artist constructed them. He does not copy, he creates in a totally anti-Renaissance fashion can say that in Romanesque sculpture I have found a starting point for distortion.”

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

“At the same time we would most like to run the film back and see how the sanctuaries close again and the lights go out and the great powers of nature are once again met with deserved reverence. One can fell an oak in twenty seconds; but in order to become what it now is, it grew for a century.... Progress is but a word without sense, and the cow, which keeps the world alive, will not move faster than three kilometers per hour in the future, either.”

Kunst und Zeugnis, Dora Vallier, Zürich 1967, p. 67
Quotes of Fernand Leger, 1960's

“There was no telling who this head, or this leg, or that arm, belonged to... So I scattered the limbs in my painting and realized that in this way I was getting much closer to the truth than Michelangelo did when he concentrated on every separate muscle.”

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 15
Quotes of Fernand Leger, 1950's