Though Fernand Léger built his reputation as a Cubist, his style varied considerably from decade to decade, fluctuating between figuration and abstraction and showing influence from a wide range of sources. Léger worked in a variety of media including paint, ceramic, film, theater and dance sets, glass, print, and book arts. While his style varied, his work was consistently graphic, favoring primary colors, pattern, and bold form.
Léger embraced the Cubist notion of fracturing objects into geometric shapes, but retained an interest in depicting the illusion of three-dimensionality. Léger’s unique brand of Cubism was also distinguished by his focus on cylindrical form and his use of robot-like human figures that expressed harmony between humans and machines.
Influenced by the chaos of urban spaces and his interest in brilliant, primary color, Léger sought to express the noise, dynamism, and speed of new technology and machinery often creating a sense of movement in his paintings that captured the optimism of the pre-World War I period.
In its embrace of recognizable subject matter and the illusion of three dimensionality interspersed with or often simultaneous with experiments in abstraction and non-representation, Léger’s work synchronizes the often competing dualities in much of twentieth-century art.
(Above Courtesy of The Art Story Dot Org)
The Baluster, painted in 1925, is part of the permanent collection of the Museum of Modern Art and is on view in Painting and Sculpture I, Gallery 7, 5th Floor.