Fernand Léger

Private Collection
Galerie Patrice Trigano, Paris
Private Collection, Monaco (sale: Sotheby's, London, 5th April 1989, lot 145)
Galerie Louise Leiris, Paris (purchased at the above sale)
Acquired from the above by the present owner

Paris, Galerie Louise Leiris, Fernand Léger, Études et tableaux, 1990, no. 12, illustrated in colour in the catalogue

Georges Bauquier, Fernand Léger, Catalogue raisonné de l'œuvre peint 1929-1931, Paris, 1955, no. 613, illustrated in colour p. 31

The canvas is not lined and examination under UV light does not reveal any signs of retouchings. There are several spots of adhesive. There is some paint shrinkage to the black pigment and some fine and entirely stable craquelure to the yellow pigment. There are two spots of foxing to the lower right quadrant and some minor paint loss to all four corners. This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

With its complex arrangement of geometric shapes and bold primary colours, Composition au fusil conveys an explosive energy and immediacy. Removed from any external references and free of narrative context, two guns float within an abstract world of shapes. Of this interplay of objects and the role of abstraction, Fernand Léger stated: ‘I made the objects in space in order to be sure of my objects. I felt that I could not put my object on a table without lessening its value as an object… I took the object, got rid of the table, placed the object in the air without perspective or support’ (quoted in Werner Schmalenbach, Fernand Léger, London, 1991, p. 98).

Léger arranged colour and form within this marvellous work from the late 1920s to powerful effect, ensuring that the painting exudes an almost palpable energy. One can almost hear the noise and feel the power of a gun being fired. The artist was captivated by weapons, especially cannons after fighting in the French Army from 1914 to 1917, and the war proved to be an important experience for him, one that made him truly notice the beauty of a machine and its human interaction. Excited by what he had experienced, Léger dedicated a vast portion of his œuvre to exploring the pictorial possibilities of new technology. Studying volume and form was more important than subject matter or narrative, and colour was freed from the object and used solely for its own striking qualities. The exemplary use of primary colour and confident handling of line within Composition au fusil clearly prefigures the American Pop Art movement of the second half of the Twentieth Century, and reveals the contemporary significance which Léger’s works hold to this day.