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拍品專文
Rendered in Fernand Léger’s bold, post-war ‘mural’ style, La bouteille noire presents a group of still-life objects set against a boldly coloured background. Painted in 1951, this work dates from a period when the artist had embarked on an ambitious artistic program, working not just on the multi-figural, boldly coloured monumental-sized paintings, but also on large murals, stained-glass windows, mosaics, sculptures and ceramics. Alongside these commissions and large-scale projects, Léger also painted a number of easel-size paintings, such as the present work.
The objects that constitute this composition – an austere black bottle, accompanied by a red pitcher, white box, pieces of fruit and a strange, indefinable white contraption – are depicted with areas of flattened, bold primary colour outlined with thick black lines. Creating the semblance of space within the composition, this mode of pictorial construction encapsulates Léger’s late style: as he stated, ‘black and white [are] two absolutes between which I go my way… Later…black gave the required intensity and by relying on it I was able to prise out the colour: for instead of circumscribing it by contours I was able to place it freely outside them’ (Léger, quoted in P. de Francia, Fernand Léger, New Haven & London, 1983, p. 254). These elements appear within a recognisable, yet spatially ambiguous plane, merging with the ground into a single, unified space.
The objects that constitute this composition – an austere black bottle, accompanied by a red pitcher, white box, pieces of fruit and a strange, indefinable white contraption – are depicted with areas of flattened, bold primary colour outlined with thick black lines. Creating the semblance of space within the composition, this mode of pictorial construction encapsulates Léger’s late style: as he stated, ‘black and white [are] two absolutes between which I go my way… Later…black gave the required intensity and by relying on it I was able to prise out the colour: for instead of circumscribing it by contours I was able to place it freely outside them’ (Léger, quoted in P. de Francia, Fernand Léger, New Haven & London, 1983, p. 254). These elements appear within a recognisable, yet spatially ambiguous plane, merging with the ground into a single, unified space.