Fernand Léger, French, 1881 - 1955
Made in France, Europe Date:
Oil on canvasDimensions:
19 1/2 x 25 5/8 inches (49.5 x 65.1 cm)Copyright:
© Artists Rights Society (ARS), New York / ADAGP, ParisCuratorial Department:
Modern ArtObject Location:
* Gallery 167a, Modern and Contemporary Art, first floorAccession Number:
Gift of Bernard Davis, 1950
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In the early 1920s, Fernand Léger began to integrate more readily identifiable human figures into his compositions, focusing particularly on the relationship between people and their modern, mechanized environment. Painted after a trip to Venice in the summer of 1924, Animated Landscape
depicts the seated artist on the left and the standing figure of his dealer, Léonce Rosenberg, proprietor of the Galerie de l'Effort Moderne in Paris, on the right. Sporting hats and suits, the two men are presented as simplified, schematized figures amidst a dense city scene composed of rigid geometric elements, including a boat and a footbridge, which the artist arranged to create a sense of receding space.
With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris, acquired from the artist . Bernard Davis, La France Art Institute, Philadelphia, by 1934 and probably as early as 1933 ; gift to PMA, 1950.
1. Georges Bauquier, Fernand Léger: catalogue raisonné, 1920-1924, 1992, no. 386. Rosenberg, who is said to be the figure depicted on the right, was Léger's dealer at the time (Léger signed a contract with him in 1918). The painting was reproduced in Rosenberg's Bulletin de l'Effort Moderne, no. 10, December 1924.
2. The 1933 Cahiers d'Art Léger special issue reproduces this painting with no owner attribution, but Davis' collection is listed at the back of the issue as one of the collections possessing works by Léger. Davis definitely owned the painting by 1934, when he lent it to the PMA's exhibition "Collection of the La France Art Institute (The Bernard Davis Collection)," March 17-April 18, 1934. Bernard Davis, owner of La France Industries textile mills in Philadelphia, began forming his extensive collection of modern art around 1919, much of it acquired in Paris. He exhibited it at the galleries of the La France Art Institute art school, founded 1923, of which he served as president (see American Art Annual 1923-1937; introduction to Freeman sale catalogue; and R. Sturgis Ingersoll, Henry McCarter, Cambridge, MA, 1944, p. 74).
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