Les deux soeurs shows the painter’s aspiration to magnify the human figure by emphasizing its monumentality, an approach already visible in works such as La Danse (1929). Painted with a sober, almost mineral palette, punctuated by primary colours, the picture reduces the subject to its pictorial essence.
Les deux soeurs brilliantly illustrates the concept of the “figure-object” that is a core part of Léger’s oeuvre: in his work, unlike that of most of his contemporaries, the body and face appear devoid of their sentimental value, becoming an object to be treated like any other. Léger explained this way of representing the human model as follows: “For me the human figure, the human body is no more important than keys or bicycles. That’s true. For me they are objects valuable for their artistic potentiality and disposable according to my will […] It was necessary for the modern artist to detach himself from this sentimental grip in order to see more clearly. We have overcome this obstacle: the object has replaced the subject; abstract art came as a complete revelation, and then we were able to consider the human figure as a plastic value, not as a sentimental value. That is why in the development of my work from 1905 to the present day, the human figure has stayed intentionally inexpressive.“
In Les deux soeurs, as in many of the major compositions painted in the 1930s, Léger gave substance to his theory, by depicting his women as archetypes, conferring upon them an anonymous, universal value, a feeling heightened by their enigmatic, inexpressive gaze. In doing so, he deliberately followed in the tradition of the great classical painters, such as Ingres, Poussin and David. As an example of a more serene and peaceful mode of painting, Les deux soeurs perfectly embodies the “modern classicism” praised by Christopher Green, embodied here by these two women fixed in a majestic, eternal stillness.
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