Le Coin de Table is a daring and successful work. Its originality resides in its subject-matter and in the artist's poetic use of border-less edges which suggest movement, and also the possibility that the elements of his still-life will eventually work their way, unimpeded, to the outer edges of the canvas. In his catalogue raisonné, the La Fresnaye scholar, Germain Seligman observes that the planes of perspective in the painting radiate outward like the spokes of a wheel from its central axis, giving them thrust. Since the elements are fragmented, the edges of the composition frayed and dissolving, solidity is threatened. Is the painting, then, a metaphor for progress ? The painted surface, a superficial, uppermost layer on the arena of the canvas, is being sucked into the vortex of a central pivotal point, the circular mirror (an object rich with symbolic significance). Thus, the vestiges of the past are contracting rather than expanding and are making room for a future that is blank, white, and as yet to be defined. Le Coin de Table is a work of a genius by an artist who died young and who painted relatively little. His legacy of marvelously crafted compositions figure among the best productions of his generation. La Fresnaye was never tempted to enter into the labyrinth of Synthetic Cubism, with its kaleidoscopic fragmentation and its multiple planes. He chose, rather, to experiment with simpler, more legible solutions and his vision resolutely pointed to the future. It would pave the way for "après le Cubisme" - the post-war Purism of Léger, Man Ray, Ozenfant, Le Corbusier.
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