Wednesday, November 14, 2018

Sotheby’s American Art Auction in New York on 16 November



Two Comedians, 1965 - Edward Hopper

Sotheby’s has announced that Edward Hopper’s Two Comedians will lead the American Art Auction in New York on 16 November 2018 (estimate $12/18 million). Painted in 1966, Two Comedians ranks among the most poignant and personal works in Hopper’s celebrated oeuvre. Evocative of many of the most important themes in Hopper’s body of 2work, this seminal painting is distinguished further by its notable provenance: it was acquired by Frank and Barbara Sinatra in 1972, and remained in their collection until it was purchased by the current owner in 1995. 

The present work represents the culmination of Hopper’s career, presenting a self-portrait of the artist and his wife, Jo, on stage, taking a final bow before turning to walk into the unknown.Jo served as Hopper’s primary model and muse throughout his oeuvre, yet she was typically portrayed as an anonymous character in an enigmatic scene. In Two Comedians,Hopper depicts his wife explicitly as the two figures hold hands and gesture tenderly toward one another, a positioning that symbolizes their close bond and the significant role Jo played in the artist’s life and art. 

Two Comedians manifests a number of leitmotifs that recur throughout Hopper’s career. His choice of a stage for the setting of the present work speaks to his lifelong interest in theate rand film, as well as his voyeuristic approach to his art and his interest in watching his subjects interact with their environments. Hopper also depicts himself and Jo as17thcentury Italian performers, known as Pierrots. He crops the work to eliminate the audience, a decision that speaks to his affinity for performers and his consideration of them as fellow outsiders, who shared the same sense of detachment he often felt during his life. The empty spaces and voids found throughout Hopper’s work are connected to the theme of death, which is emotionally manifested in the darkly nebulous background of Two Comedians. #


GRANT WOOD’S SEMINAL PORTRAIT OF HIS SISTER, NAN
On offer for the first time in over 65 years, Portrait of Nan comes to auction at a time of heightened interest in Grant Wood’s work, following his recent 2018 retrospective at the Whitney Museum of American Art (estimate $1.5/2.5 million). This extremely personal work portrays Wood's beloved sister Nan, whose likeness is most recognized in the artist's American Gothic from 1931, one of the most iconic images in 20th century art. In response to the criticism the artist received for his stern depiction of Nan in American Gothic, Wood painted Portrait of Nan one year later as a heartfelt apology to his sister.

The only work Wood refused to sell in his lifetime, Portrait of Nan remained in the artist's collection until his death in 1942. In 1952, the work was purchased by Senator William Benton of Connecticut, the publisher of the Encyclopedia Britannica, and an important patron of American modernism, and subsequently descended to his daughter Helen Boley, appearing at auction this November from her estate.

A NORMAN ROCKWELL CHRISTMAS

 Image result
 
Leading the selection of five works on offer by Norman Rockwell is his Tired Salesgirl on Christmas Eve (estimate $5/7 million), which served as the cover illustration for the 27 December 1947 edition of The Saturday Evening Post, and which has remained in the same private collection since it was last sold in 1996. The painting depicts a department store employee on Christmas Eve after a strenuous shift, exhausted by the relentless onslaught of customers seeking last-minute gifts. To create this composition, Rockwell had elements of the scene photographed on-site at the Marshall Field department store in Chicago, and asked a 17-year-old waitress he discovered working at a diner nearby to pose as his protagonist. The work demonstrates Rockwell’s undeniable gift for visual narration, and captures an aspect of the holiday season that would become increasingly common throughout the century.




A RARE & MONUMENTAL CANVAS BY EMANUEL GOTTLIEB LEUTZE

 
 
The selection of Western art on offer this November is led by Emanual Gottlieb Leutze's Western Emigrant Train Bound for California Across the Plains, Alarmed by Approach of Hostile Indians (estimate $2.5/3.5 million). Though Leutze was born in Germany in 1816 and spent most of his life living and working there, his paintings of the significant figures and historical events of 18th and 19th century America rank as the most celebrated images of his oeuvre - including his iconic image of Washington Crossing the Delaware (The Metropolitan Museum of Art, New York). Painted in 1863, this dynamic image represents one of Leutze’s finest achievements on the subject of Manifest Destiny and the struggle to tame the Wild West. Highly ambitious and sophisticated in both content and form, the painting exemplifies the unique synthesis of realism and idealism that allowed Leutze to successfully mythologize episodes of American history.

Measuring more than 5.5 feet across, the impressively-scaled work is being sold this fall to benefit the Dover Free Public Library in Dover, New Jersey, where it has resided since it was gifted to the institution in 1943.

HORACE PIPPIN’S AUTOBIOGRAPHICAL WORK 
 
A self-taught painter from West Chester, Pennsylvania, Horace Pippin began producing art at age 37, after his honorable discharge from the United States army due to an injury. 

 Holy Mountain I, 1944 - Horace Pippin

The pastoral Holy Mountain, I presents an autobiographical scene, with a harmonic foreground that is contrasted by the soldiers marching through the ominous forested background (estimate $1/1.5 million). The painting is first in a series of four works Pippin executed on this subject. Reflecting both his personal experiences in World War II and the cultural climate of the period, the painting – dated June 6, 1994 – corresponds with D-Day, further reinforcing the ideological dichotomy between war and peace. Holy Mountain, I last appeared at auction in 1981 at Sotheby’s New York, establishing the artist’s auction record of $385,000 that has held to this day.

THE ESTATE OF ESTELLE WOLF
 
Sotheby’s will present a group of four works from the Estate of Estelle Wolf are led by

https://uploads4.wikiart.org/images/robert-henri/at-far-rockaway-1902.jpg!Large.jpg

 Robert Henri’s At Far Rockaway from 1902, an important 20th century landscape of Rockaway Beach in New York City that represents a pivotal moment in the artist’s career (estimate $700,000/1,000,000). At Far Rockaway represents one of the earliest examples of Henri's works that demonstrate the influence of the Spanish tradition of painting, which turned the attention of a generation of important American artists including George Bellows and Edward Hopper toward the gestural European style. 

Sargent - Mrs. Charles Anstruther-Thomson (Agnes Dorothy Guthrie0

John Singer Sargent’s portrait Mrs. Charles Anstruther-Thomson is another highlight from the Wolf Estate (estimate $450/550,000). The work depicts Anges Anstruther-Thomson, a fashionable member of London society and wife of prominent Scottish landowner Charles Anstruth-Thomson. The painting remained with Mrs. Charles Anstruther-Thomson and descended in her family until it was sold at Sotheby's in 1981.

GEORGIA O’KEEFFE’S SOUTHWESTERN INSPIRATION
 
Four years following the sale of 

 Image result

Georgia O’Keeffe’s iconic flower painting Jimson Weed/White Flower No. 1, Sotheby’s announced that they will again offer three important works by the artist from the Georgia O’Keeffe Museum in Santa Fe, New Mexico to benefit its Acquisitions Fund.

The American Art auction on 16 November is highlighted by 

Cottonwood Tree in Spring, 1943 - Georgia O'Keeffe


Cottonwood Tree in Spring from 1943 (estimate $1.5/2.5 million). 

O’Keeffe started to visit New Mexico regularly in 1929 when, in an effort to escape city life, she left New York to spend the summer there.

Works such as Cottonwood Tree in Spring reveal the profound inspiration O’Keeffe gleaned from the American Southwest. The sublime beauty of the landscape provided a free range for her imagination, and she would continue to investigate its imagery for the remainder of her life, returning almost every summer until 1949 when she made Abiquiu her permanent home. While the artist had always utilized the natural world as the basis for her unique visual language, in New Mexico her art gained an even deeper intimacy and, in works such as Cottonwood Tree in Spring, it transcends a literal study of nature to evoke the spiritual connection she felt with her adopted home.

Two additional works by the artist from the O’Keefe Museum –  

 Image result

A Street, a rare and highly significant depiction of New York City from 1926, and the striking  

 Image result
Calla Lilies on Red from 1928 – will highlight the Contemporary Art Evening Auction on 14 November 2018. 
 

12 December in London, Sotheby's = Caspar David Friedrich



Today more perhaps than at any time since Caspar David Friedrich’s death almost 180 years ago, his sublime and timeless landscapes are being appreciated by artists and public alike.The artistic embodiment of landscape painting of the Romantic era, Friedrich strove to express mood and meaning through nature, his aesthetic informed by his Protestant upbringing and the idea of divine creation manifesting itself in the natural world.
On 12 December in London, Sotheby’s will offer two landscapes by Friedrich, each work a distillation ofthe artist’s search for deeper meaning within the appearance of nature. 

Both paintings come to auction with distinguished provenance: 

 Image result



Landschaft mit Gebirgssee am Morgen (Landscape with Mountain Lake, Morning)oil on canvas, 71.5 by 93cm

Landschaft mit Gebirgssee am Morgen (Landscape with Mountain Lake, Morning) from the collection of the late Dr Erika Pohl-Ströher (est. £2-3 million/ €2.2-3.4 million*) 


Image result

Sonnenblick im Riesengebirge (Sunburst in the Giant Mountains)oil on canvas, 25.5 by 32cm 



and Sonnenblick im Riesengebirge (Sunburst in the Giant Mountains)by descent through the family of the preeminent German-Swiss art dealer DrFritz Nathan (est. £500,000-700,000/ €560,000-780,000).

Paintings by Friedrich rarely appear at auction –the emergence of these two works onto the market marks the first time in twelve years since an oil by the artist came under the hammer at Sotheby’s.

Frans Hals and the Moderns

Frans Hals Museum

13th October 2018 - 24th February 2019

Hals meets Manet, Singer, Sargent, Van Gogh

Frans Hals was rediscovered as a modern idol two hundred years after his death. He was admired, even adored by late 19th-century artists such as Édouard Manet, Max Liebermann and Vincent van Gogh. They were all impressed by his loose touch and rough painting style, which came across as ‘Impressionist’.

This exhibition shows Frans Hals’s immense impact on these modern painters. For the first time, paintings by the famous 17th-century portrait painter are being shown alongside reactions to his work from other major eras of painting.

Seeing works by Frans Hals alongside virtuoso work by the artists whom he inspired gives insight into how modern Frans Hals was in in their eyes: ‘Frans Hals, c’est un moderne’.




Rediscovering Frans Hals

Exactly 150 years ago – in 1868 – Frans Hals was rediscovered by the influential French art critic Théophile Thoré-Bürger. Art critics had disregarded Hals for most of the eighteenth century and the first half of the nineteenth. His innovative painting style with his lose touch no longer chimed with the prevailing academic style. This loose painting style was associated with his ‘licentious’ lifestyle and presented as a poor example. This meant that his paintings were worth little in the art market and Frans Hals’s name did not feature in most works about the Golden Age.

Thoré-Bürger (who was also instrumental in rediscovering Vermeer) discussed Hals’s work in various publications, but it was two articles for the influential art magazine Gazette des Beaux-Arts, in which he extolled the artist’s virtues, that had the most impact. Thoré-Bürger specifically cited Hals’s virtuosity and daring brushwork as an example to modern artists. The articles sparked renewed interest in Hals’s paintings and a reassessment of his style among contemporary painters. The price of his works skyrocketed, and every respected museum and collector was eager to acquire a Hals. Many painters – to begin with mainly French, but soon German, English and American too – travelled hundreds of miles to Haarlem, which became a veritable place of pilgrimage for artists, where they could admire Hals’s work in the recently opened Gemeentemuseum (1862).

Frans Hals and the Moderns

The 150th anniversary of this rediscovery is an opportunity to stage an exhibition about the grand master of the portrait. Frans Hals and the Moderns: Hals Meets Manet, Singer Sargent, Van Gogh reveals the strength of Hals’s influence on painters in the second half of the nineteenth century. Frans Hals was admired, even worshipped by late nineteenth-century artists like Edouard Manet, Max Liebermann, John Singer Sargent, James Ensor, Mary Cassatt, Gustave Courbet, McNeill Whistler, William Merritt Chase, Henri Fantin-Latour and Vincent van Gogh. They were impressed by his lose touch and rough manner, which they saw as ‘impressionist’.

This exhibition, which runs from October 13, 2018 to February 10, 2019 in the Frans Hals Museum, in the Hof, features some eighty loans reflecting the impact Hals had on these modern painters. For the first time in the history of art, paintings by Frans Hals will be placed alongside works and artists he inspired.


THE MASTERPIECES I.A. MALLE BABBE AND JOSEPH ROULIN
 
The museum has so many special works on loan of other great painters from national and international museums and private collections. The following paintings have, for example, never been on view in the Netherlands before:



Vincent van Gogh (1853-1890), Postman Joseph Roulin , 1888
Museum of Fine Arts, Boston

• Postman Joseph Roulin (1888)



Madame Roulin and her Baby (1888) by Van Gogh;

https://upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Edouard_Manet%2C_Corner_of_a_Caf%C3%A9-Concert%2C_ca._1878-80.jpg/617px-Edouard_Manet%2C_Corner_of_a_Caf%C3%A9-Concert%2C_ca._1878-80.jpg

• Corner of a Café-concert (1878/80)

Image result

and Boy with Pitcher (1862/72) by Manet;

• A lost copy by Manet of a group portrait by Hals has recently been recovered. The museum will closely examine the rediscovered Manet in the months to come;

 

• A special work on loan from the Van Gogh Museum, Head of a Prostitute by Van Gogh;

Image result

• Other works by Hals have also returned to their hometown, such as The Smoker,



Laughing Boy and Malle Babbe.

For the first time in history, two Malle Babbes will be shown together:

 Frans Hals 021.jpg

the original by Frans Hals (1633/35)

 File:Gustave Courbet Malle Babbe.JPG

and the copy made by Gustave Courbet (1869).

The last time Hals’ Malle Babbe (from the Gemäldegalerie in Berlin) was on view was during the major Hals exhibition in 1995.

GLOSSY
 
The exhibition is accompanied by a beautiful glossy magazine featuring a varied mix of articles that combine detail with art appreciation. This inspiring magazine includes contributions by well-known Dutch journalists such as Merel Bem, Arjan Visser, Elma Drayer and José Rozenbroek and art historian Griselda Pollock. The magazine was designed and produced by Studio Room (known from LINDA magazine) and is available at AKO, the better bookstores (Haarlem and Amsterdam area) and the museumshop.


 Frans Hals, Regentesses of the Old Men's Alms House, circa 1664. Oil on canvas. Frans Hals Museum, Haarlem. Photo: Rene Gerritsen.




Frans Hals, a Dutch Gentleman, National Galleries of Scotland




















Frans Hals, Portrait of Pieter Jacobsz Olycan, 1629/30, Frans Hals Museum, on loan from a private collection


John Singer Sargent
Mrs. Ernest Hill (Constance Malanie Wynne-Roberts)


 
Robert Henri, Laughing Boy
 




Frans Hals (ca. 1582-1666), The Fisher Boy (detail), 1632/1633
Koninklijk Museum voor Schone Kunsten Antwerpen, Antwerp






Tuesday, November 13, 2018

Lorenzo Lotto Portraits

National Gallery London 
5 November 2018 – 10 February 2019

“Lotto was the first Italian painter who was sensitive to the varying status of the human soul. Never before or since has anyone brought out on the face more of the inner life….” Bernard Berenson, art historian, 1895

In autumn 2018 the National Gallery will stage the first-ever exhibition of portraits by the Italian Renaissance artist Lorenzo Lotto.

Lorenzo Lotto Portraits will bring together many of Lotto’s best portraits spanning his entire career from collections around the world.

Lorenzo Lotto, 'Portrait of Marsilio Cassotti and his wife Faustina', 1523 © Museo Nacional del Prado, Madrid
Lorenzo Lotto, 'Portrait of Marsilio Cassotti and his wife Faustina', 1523 © Museo Nacional del Prado, Madrid

 Image result for Lotto Bishop Bernardo de‘ Rossi

These include such masterpieces as the 'Bishop Bernardo de‘ Rossi' (1505) from the Museo e Real Bosco di Capodimonte in Naples,

 


united with its striking allegorical cover from the National Gallery of Art, Washington;



Image result

 Image result

Image result

and the monumental altarpiece of 'The Alms of Saint Antoninus of Florence' (1540–2) from the Basilica Santi Giovanni e Paulo in Venice coming to the UK for the first time. In this painting Lotto not only inserted portraits of members of the commissioning confraternity, but also, highly unusually, paid poor people to sit for him.

Working during a time of profound change in Europe, Lotto was remarkable for depicting a wide variety of middle-class sitters, including clerics, merchants, artisans, and humanists.

He portrayed men, women, and children in compositions rich with symbolism and great psychological depth. His works are characterised by expressive sensitivity and immediacy and are also known for their deeply saturated colours and luxuriant handling of paint.

Born in Venice, Lotto travelled extensively and worked in different parts of Italy, most notably Treviso, Bergamo, Venice, and the Italian Marches. He spent his final years as a lay member of the confraternity of the Holy House at Loreto (1549–56.)  In today’s terms, his disposition in the later decades of his life would probably be described as clinically depressed. A melancholic empathy with his sitters is evident in his in late portraits.

Staged broadly chronologically the exhibition starts with Lotto’s earliest portraits before exploring the work from his most significant periods in Bergamo and Venice and ending with the late paintings. Unusually for a National Gallery exhibition objects related to those he depicted will also be displayed.

Room one explores Lotto’s work from his time in Treviso (1503–6) and includes the 'Allegory' (1505)  from the National Gallery of Art, Washington (above)

Image result

and the spectacular 'Assumption of the Virgin with Saints Anthony Abbot and Louis of Toulouse' (1506) from the Chiesa Prepositurale e Collegiata di Santa Maria Assunta, Asolo.

Lotto, ritratto di lucina brembati.jpg

Focusing on his Bergamasque period (1513–25), Room two contains the cleverly symbolic 'Lucina Brembati'  (about 1520–3)]

 Lorenzo Lotto - The Mystic Marriage of St Catherine - WGA13684.jpg

 and 'The Mystic Marriage of Saint Catherine of Alexandria, with Niccolò Bonghi' (1523) both from Bergamo’s Accademia Carrara;

 Image result

as well as the 'Portrait of a Married Couple' (1523–4) from the State Hermitage Museum, St Petersburg, which has been cleaned on the occasion of the exhibition.

Room three is dedicated to works produced in Venice (1525–49)

Andrea Odoni (1527); Lorenzo Lotto.JPG

such as the famous likeness of the Venetian collector 'Andrea Odoni' from the Royal Collection (1527),
 Image result

the National Gallery’s own Portrait of a Woman inspired by Lucretia

 Image result

and the 'Portrait of a Young Man with a Lizard' (1528–30) from the Gallerie dell’Accademia, Venice.

The final room celebrates the late work and includes the remarkably well preserved and affecting 'Portrait of a Man with a Felt Hat' (1541?) from the National Gallery of Canada, Ottawa, as well as the altarpiece of 'The Alms of Saint Antoninus  of Florence' (1540–2).

Objects relating to the portraits will show how the meaning of Lotto’s paintings extends from the sitter to their surroundings. Lotto painted these not so much to reflect a given sitter’s opulence and wealth, but to help tell their story and reflect their identity. Among items on display will be a carpet, sculpture, jewellery, clothing, and books.


Lorenzo Lotto, Portrait of a Young Man, about 1500 (detail). Oil on panel, 34.2 × 27.9 cm. Accademia Carrara, Bergamo © Fondazione Accademia Carrara, Bergamo.

Lotto’s reputation has consistently grown since the art historian Bernard Berenson published the first monograph on him in 1895. Writing during the emergence of Freudian psychoanalysis, Berenson saw Lotto as the first modern portraitist because of his interest in reflecting his sitters’ states of mind.
“He seems always to have been able to define his feelings, emotions and ideals, instead of being a mere highway for them,” said Berenson, “this makes him pre-eminently a psychologist…The portraits all have the interest of personal confessions.”

Matthias Wivel, Curator of 16th-century Italian Paintings at the National Gallery, and curator of Lorenzo Lotto Portraits, says:

“Lotto’s empathetic approach to his sitters, his attention to detail and his willingness to explore new formats and ways of composing portraits all contribute to a body of work that is astonishingly varied and feels more direct, less filtered, than those of his contemporaries notably Titian’s more elevated, idealised portraiture. Lotto portrayed people from an unusually wide variety of social backgrounds. His attention to clothes and objects in his paintings helps acutely to define the sitter’s identity, social status and aspirations; and the psychological interest he brings to his portraits is of the highest order – no two subjects appear similar and there is a sense of understanding what makes each sitter tick.”

Director of the National Gallery, Dr Gabriele Finaldi, says:

“A contemporary of Titian, Lotto was one of the most original portrait painters of the Renaissance. The scholars and merchants, artisans and clerics and the family groups he depicted are vibrant with personality and psychological depth. Five centuries on they come alive before us in all their human complexity.”

'Lorenzo Lotto Portraits' is organised by the National Gallery and the Museo Nacional del Prado, Madrid

'Lorenzo Lotto Portraits' is curated by Matthias Wivel, with Miguel Falomir of the Museo Nacional del Prado, Madrid and Enrico Maria dal Pozzolo.

Fernand Léger: New Times, New Pleasures

Tate Liverpool
3 NOVEMBER 2018 – 17 MARCH 2019
  

VAM - Institut Valencià d'Art Modern 
2 May to 15 September 2019.

 
Tate Liverpool presents the first major UK exhibition in 30 years of renowned modern artist Fernand Léger (1881–1955). Fernand Léger: New Times, New Pleasures brings together more than 50 paintings from across Europe, including many never before seen in the UK. 

Featuring abstract and figurative paintings, drawings, a large-scale mural, films, graphic design, books and textiles, the exhibition explores how Léger redefined the value of art to 20th century society. Creating works in a diverse range of media, Léger was a politically-engaged artist, with an unwavering belief in the social function of art for everyone. Influenced by his early training as an architect, Léger developed a unique visual style that powerfully captured the intense experience and energy of the 1910s Parisian metropolis in which he lived. At a time when photography and new forms of visual communication became predominant, Léger’s artistic style became heavily influenced by street advertising; like posters and neon signs, his paintings made bold, graphic and colourful statements about the bustle and rhythm of modern life. 

Highlights of this seminal period of Léger’s career include, 



trait
Fernand Léger
The Disc (Le Disque) 1918
Fernand Léger
The Disc (Le Disque) 1918
Oil paint on canvas
650 x 540 mm
Museo Nacional Thyssen-Bornemisza, Madrid

© ADAGP, Paris and DACS, London 2018. Provenance: Museo Nacional Thyssen-Bornemisza, Madrid

The Disc1918 


Fernand Léger
(1920)
The Tugboat
Crédit photographique : Ville de Grenoble/Musée de Grenoble - Jean-Luc Lacroix
and The Tugboat1920 where the pure elements of abstract painting – line, form, colour – are used to embody industrial modernity. His interest and admiration for cinema also influenced his work, specifically his experimental film Ballet Mécanique1924, made in collaboration with director, Dudley Murphy, artist, Man Ray and with music by George Antheil. 

Born into a modest farming family, central to the artist’s work was a belief that art should be enjoyed by all, not just society’s privileged elite. For Léger, modern art was a means of elevating the quality of life for the working man. Seeing beauty in the everyday he created paintings depicting the world of labour including construction workers and people taking part in leisurely pursuits under radiant blue skies. Inspired by classical art and sculpture, he endowed his subjects with a sense of monumentality and dignity, as demonstrated in  

Image result

Léger 1948 49 Leisure (Homage to Jacques-Louis David), Musee Pompidou, Paris

Leisure - Homage to Louis David1948–9 and  




Fernand Léger
Study for 'The Constructors': The Team at Rest 
(Étude pour ‘Les Constructeurs’: L'Équipe au repos) 1950
Fernand Léger
Study for 'The Constructors': The Team at Rest
(Étude pour ‘Les Constructeurs’: L'Équipe au repos) 1950
Oil paint on canvas
1620 x 1295 mm
Scottish National Gallery of Modern Art, Edinburgh
Purchased 1984 © ADAGP, Paris and DACS, London 2018. Photo: Antonia Reeve


Study for ‘The Constructors’: The Team at Rest 1950. 

Léger’s political beliefs also meant his work engaged with discourses of the day. Alongside architects including Le Corbusier, Léger created grandly-scaled photomurals that employed the same abstract and graphic style found in his painting. 

Fernand Léger (1881-1955) and Charlotte Perriand (1903-1999)

Fernand Léger (1881-1955) and Charlotte Perriand (1903-1999)
Essential Happiness, New Pleasures
Pavilion of Agriculture, Paris, International Exhibition
(Joies essentielles, plaisirs nouveaux.
Pavillon de l'Agriculture, Paris, Exposition Internationale) 1937– 2011
Acrylic paint, collage and print on paper on board
3500 x 9410 mm
Museo Nacional Centro de Arte Reina Sofía, Madrid
Donated by Archives Charlotte Perriand-Pernette Perriand Barsac, Paris, 2012 © ADAGP, Paris and DACS, London 2018. Photographic Archives Museo Nacional Centro de Arte Reina Sofia

Exhibited for the first time in the UK will be Essential Happiness, New Pleasures1937/2011 a work made in collaboration with architect and designer, Charlotte Perriand and a major highlight of the exhibition. This large-scale photomural first appeared at the International Exposition in Paris in 1937. In tandem with his socialist ideals against a backdrop of economic depression and the rise of totalitarianism in Europe, the mural promoted rural life, urging nations to work collectively to forge a better future for all. 

Fernand Léger: New Times, New Pleasures provides a comprehensive survey of the artist’s career, bringing together major loans from lenders including Centre Pompidou, Fondation Beyeler, and Moderna Museet in Stockholm. 

The exhibition is curated by Darren Pih, Exhibitions & Displays Curator and Laura Bruni, Assistant Curator, Tate Liverpool. It was initially developed by Lauren Barnes, formerly Assistant Curator, Tate Liverpool. 



High resolution press images can be downloaded fromtate.org.uk/press






trait
Fernand Léger
ABC, 1927
Fernand Léger
ABC, 1927
On paper
194 x 278 mm
Tate: Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994

© ADAGP, Paris and DACS, London 2018
trait
Fernand LégerLeaves and Shell (Feuilles et coquillage) 1927
Fernand Léger
Leaves and Shell (Feuilles et coquillage) 1927
Oil paint on canvas
1295 x 972 mm
Tate: Purchased 1949

© ADAGP, Paris and DACS, London 2018
trait



trait
Fernand Léger
The Acrobat and his Partner, 1948
Fernand Léger
The Acrobat and his Partner (L'acrobate et sa partenaire) 1948
Oil paint on canvas
Support: 1302 x 1626 mm
Frame: 1402 x 1727 x 75 mm
Tate. Purchased 1980

© ADAGP, Paris and DACS, London 2018



trait
Fernand Léger
Two Women Holding Flowers, 1954
Fernand Léger
Two Women Holding Flowers (Deux femmes tenant des fleurs) 1954
Oil paint on canvas
972 x 1299 mm
Tate. Purchased 1959

© ADAGP, Paris and DACS, London 2018
trait
Fernand Léger
Young Girl Holding a Flower (Jeune fille tenant une fleur) 1954
Fernand Léger
Young Girl Holding a Flower (Jeune fille tenant une fleur) 1954
Oil paint on canvas
550 x 460 mm
The Fitzwilliam Museum, Cambridge

© ADAGP, Paris and DACS, London 2018
© The Fitzwilliam Museum, Cambridge