As with La Corde, the paintings from this period are unusually soft and sensual. Léger was indeed obsessed with a woman whom he met in 1931. Until 1941 "Bear" wrote many letters to his "Jewel": "I hold you in my hands entirely in fragments as you know – I begin and I follow the line – the form, and I always finish around the mouth and the ivory teeth, your white teeth even in the night" (quoted in Silex et draperies, les années trente de Fernand Léger, Isabelle Monod-Fontaine, in Fernand Léger, Paris, Centre Georges Pompidou, p.182).
If this relationship was behind this new aesthetic, an aesthetic of metamorphosis which follows an aesthetic of contrast, the general context of Surrealism should also be taken into account and its effect on Léger. The contours that link the sinuous objects are not mechanical.
With its floating forms and metaphors, La Corde opens up the romantic and poetic scope of the painting.
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