Word: leger
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Dates: during 1950-1959
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...Leger's early work has a rugged texture, and gruff and brusque approach to subject matter that his smooth-surfaced later pictures lack. TheSmokers of 1911 and Variations of Form of 1913 show this style at its most robust and most assertive. Their power is unparalleled in the rest of the show...
...control of Mandrian and vigor of Leger, Giacometti and Chagall are the only significant assets of this sprawling show. For the most part, it gives one the impression that modern artists are sloppy and devoid of imagination. Though such is not the case at all, the till-now reticent benefactors of the Museum of Fine Arts presumably don't know this. Needless to say, the present exhibition is not going to enlighten them...
Like most painters. Carles hoped for public confirmation that his new abstract direction was valid. In the socially conscious U.S. art world of the 1930s, such confirmation was not forthcoming. (In 1936 Leger visited him in Philadelphia, was amazed to find "anything like this going on in America.") Carles began painting and repainting the same canvases until they were too heavy to lift. The World War II migration of Paris painters -Chagall, Mondrian et al.-to Manhattan finally produced the understanding audience Carles longed for, but it was too late. In 1941 Carles suffered a stroke, and though he lingered...
...that Barnard Hall girls don't like to dress well, it's just that they like to be well-dressed without the competitive spirit entering into it," according to Barnard's contestant, Jane St. Leger...
...medium in 1926 with wire sculptures. He created out of wire a whole circus, complete with leaping trapeze artists, jumping kangaroos and horse-hurdling bareback riders. Their mobility, controlled by springs and a master crank, charmed a Paris Left Bank audience that included Jean Cocteau, Pablo Picasso, Fernand Leger and Joan Miro. The mobile was being born...