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拍品专文
In the latter half of the 1930s Léger began a series of large figure compositions, the culmination of which was the largest painting he had done to date, Composition aux deux perroquets, 1935-1939 (Bauquier no. 881; coll. Musée Nationale d'Art Moderne, Paris).
The completed painting shows four circus performers, three female and one male, with two of them each holding a parrot, a motif which adds an element of exoticism to the scene and at the same time serves as twin focal points of color in the composition. Léger executed numerous drawings as studies for the painting, and continued treating this subject into the 1940s. The present work shows the bands of primary color that Léger began to use as a foundation in his compositions after arriving in New York in 1940. Léger returned to the parrot theme again in 1952 for his lithograph Les femmes au perroquet (Saphire, no. 119) and a related ceramic presently situated in the garden of the restaurant 'La Colombe d'Or' in St.-Paul-de-Vence.
The completed painting shows four circus performers, three female and one male, with two of them each holding a parrot, a motif which adds an element of exoticism to the scene and at the same time serves as twin focal points of color in the composition. Léger executed numerous drawings as studies for the painting, and continued treating this subject into the 1940s. The present work shows the bands of primary color that Léger began to use as a foundation in his compositions after arriving in New York in 1940. Léger returned to the parrot theme again in 1952 for his lithograph Les femmes au perroquet (Saphire, no. 119) and a related ceramic presently situated in the garden of the restaurant 'La Colombe d'Or' in St.-Paul-de-Vence.