FERNAND LÉGER AND MODERN LIFE

3 MAY TO 15 SEPTEMBER 2019

Cover Fernand Léger Étude pour "Les Constructeurs": l'équipe au repos, 1950. © Fernand Léger, VEGAP, Valencia, 2019 Fernand Léger Deux femmes tenant des fleurs, 1954. © Fernand Léger, VEGAP, Valencia, 2019. CONTENTS FERNAND LÉGER THE EXPERIENCE OF MODERN LIFE / BALLET MÉCANIQUE AND MODERN LIFESTILL LIFE AND MODERN LANDSCAPES THE INTERNATIONAL EXHIBITION OF ART AND TECHNOLOGY, PARIS, 1937 DETAILS 02 POETIC OBJECTS AND THE GREAT SUBJECT OF THE 01 EXHIBITION 03 BIOGRAPHY LAYOUT LIST OF THE OF THE WORKS 04EXHIBITION 05

PRACTICAL PARALLEL IVAM INFORMATION 06 ACTIVITIES 07

01

Tittle Fernand Léger and modern life Organised by DETAILS IVAM in collaboration with Tate Liverpool Dates From 3 May to 15 September 2019 Curators Darren Pih and Laura Bruni OF THE Coordinator

Raquel Gutiérrez With the collaboration of EXHIBITION Fundación Banco Sabadell 02

he IVAM presents the first great such as Paris. For Léger, forms, lines and colours in ways of making modern art that was accessible and FERNAND exhibition that has been devoted in a painting must equal the conflicting experience of meaningful for everyone in society. The integration Spanish museum in the last 30 years any modern city dweller. of different disciplines in his work and collaborative to Fernand Léger (Argentan, France, creation are characteristic aspects of his thinking. 1881–Gif-sur-Yvette, France, 1955), a In addition to making pictures that express “Easel painting is strictly individual,” Léger said, contemporary of Picasso, Braque and the liveliness of the modern age he worked in “whereas mural painting is of an intrinsically Juan Gris, considered a classic of the collaboration with filmmakers and with architects collective order.” LÉGER avant-garde movements and one of the such as Le Corbusier and Charlotte Perriand. Later transformers of Cubism. Fernand Léger he made very optimistic paintings and prints that Léger also engaged with the main political events and modern life brings together a hundred works, paid homage to the world of work, creating them of his time. While painting works that reflected his Tincluding paintings, drawings, graphic art, textiles, under a radiant blue sky. His later paintings were direct experience with industrial modernity as a films and photographs, made by the artist between inspired by classical art and sculpture, and he soldier during the First World War, in 1937 he made 1918 and 1955, the year of his death, and other endowed his figurative themes with a sense of photomurals that served as socialist propaganda for AND works made by architects and filmmakers with monumentality and dignity. André Léon Blum’s Front Populaire (Popular Front). whom he worked during his career, which provide a Léger saw modern art as a vehicle for education context for the show. The show exhibits the investigations of colour and and as a means for raising the quality of collective instantaneous movement that the artist made in life. Among his last works there are paintings that The exhibition presents Léger as a politically key works such as Le disque (The Disc, 1918), the promote collective effort; the subjects are people engaged artist with an unwavering belief in influence of street advertising on his large mural enjoying relaxing activities under a radiant blue sky. MODERN the social function of art for the whole world. compositions, the interest and admiration he felt The defence that he made, throughout his life, of the Throughout his career he was convinced that for cinema, demonstrated in his experimental film value of art as something that benefits the whole of modern art was a vehicle for education and a Ballet Mécanique (Mechanical Ballet, 1924), works society is still relevant for artists and the public now. means for raising the quality of life for everyone. from his period in America (1940–1945), and the best-known motifs in his work, such as the world of The exhibition was first shown at Tate Liverpool, at The show, divided into four sections (The the circus, musicians, cyclists, workers and still lifes. the time of its 30th anniversary and 10 years after LIFE Experience of Modern Life/Ballet Mécanique; Still it was named European Capital of Culture. The Life and Modern Landscapes; The International Fernand Léger created his own innovative style, show is now being exhibited at the IVAM in 2019, Exposition of Art and Technology in Paris in 1937; which came from his political beliefs and ideas coinciding with the celebration of its own 30th Poetic Objects and The Great Subject), explores about art. He belonged to the celebrated circle of anniversary. how Léger defined the value of art for twentieth- artists and intellectuals who worked in Paris at the century society, struggling with the world around beginning of the twentieth century and he worked him, and in the years between 1910 and 1920 in collaboration with other artists, exploring a wide modern life equalled growing industrialisation, range of disciplines such as painting, drawing, buzzing public transport, the cacophony of architecture, large-scale murals, experimental films, the urban environment and the vibrancy of the printed books and textiles. Perhaps more than advertisements that were invading major cities anyone else in his generation, Léger sought new Fernand Léger Trois femmes sur fond rouge, 1927. © Fernand Léger, VEGAP, Valencia, 2019

Fernand Léger Ballet mécanique, 1923. B&W film. Silent. 13 min. Centre Pompidou, Paris. © Fernand Léger, VEGAP, Valencia, 2019 Fernand Léger Hommage à la danse, 1925. © Fernand Léger, VEGAP, Valencia, 2019 01 FERNAND LÉGER AND MODERN LIFE THE EXPERIENCE OF MODERN LIFE / BALLET MÉCANIQUE

n 1900 Léger moved to Paris to continue Ballet mécanique (Mechanical Ballet) is still a studying architecture. He arrived at a masterpiece of early modern cinema. Made in Inspired by the posters and neon time when the city was undergoing rapid collaboration with Dudley Murphy and Man Ray and modernisation, and he was fascinated by the with music by George Antheil, it was completed way in which machinery and the new media in 1924 and includes many visual elements similar signs in Paris, Léger was also were being introduced into the experience of to those that can be seen in Léger’s paintings of urban life. For Léger, this intense experience that time, in which the mechanical element is fascinated by the beginnings of of the city called for a fundamental change in “the leading character, the leading role”. The film the expression of art, and he went so far as to presents edited images in which parts of bodies cinema, which he considered a say that “modern man registers a hundred times and fragments of common objects are filmed in Imore sensory impressions than an eighteenth- close-up and represented as abstract forms. His century artist”. This can also be seen in the dynamic aim was to “create adventures on the screen like the truly accessible medium interaction of the striking machine-like forms in ones created every day in painting and poetry”. Later paintings such as Le disque (The Disc, 1918) and Le he transformed his interest in the aesthetics of the of communication. typographe (The Typographer, 1919). machine age into representations of figures, as in Trois femmes sur fond rouge (Three Women on a Inspired by the posters and neon signs in Paris, Red Background, 1927). Léger was also fascinated by the beginnings of cinema, which he considered a truly accessible medium of communication. Léger’s attraction to films began in 1916, when he was on leave during the First World War and, accompanied by the poet and writer Guillaume Apollinaire, he discovered Charlie Chaplin. Like many other modern artists of his generation, for Léger the cinema had a great potential for visual representation and for a kind of expression devoid of narrative 02 FERNAND LÉGER AND MODERN LIFE STILL LIFE AND MODERN LANDSCAPES

uring the 1920s Léger’s paintings evolved towards classical themes such as the still life and landscape, and he defended them as themes in their own right. Léger believed that beauty could be found in the everyday modern objects designed and mass produced for public consumption, and in 1924 he declared that “a work of art must be compared with a manufactured object”. While his Dcompositions continued to preserve mechanical forms such as discs and machinery, he also turned his attention to mass-produced everyday objects, as can be seen, for example, in Nature morte à la chope (Still Life with a Beer Mug, 1921).

This change reflects the empathy that Léger felt with Purism, a post-Cubist art movement founded in 1918 which typically represented recognisable objects as powerful self-contained forms devoid of details. At that time he also spoke of art in pedagogical terms and as a vehicle for personal development. “Everybody has a right to art,” he said. “Give [the working class] time and leisure, and it will make itself at home with such paintings, will learn to live with and to love them.” In the end, the fragmented Cubist forms of his early compositions gave way to freely floating planes of colour. Léger’s domestication of machinery symbolises a utopian ideal future in which modern life and industrial innovation coexist harmoniously. Fernand Léger Les deux femmes au bouquet, 1921. © Fernand Léger, VEGAP, Valencia, 2019 Fernand Léger Femme et nature morte, 1921. © Fernand Léger, VEGAP, Valencia, 2019 03 FERNAND LÉGER AND MODERN LIFE THE INTERNATIONAL EXHIBITION OF ART AND TECHNOLOGY, PARIS, 1937

n the 1930s there was a proliferation of world of Energy), a paean to hydroelectric energy. He fairs in cities such as Moscow, Nagoya and also collaborated with the architect and designer New York. The fairs were important platforms Charlotte Perriand in the Ministry of Agriculture’s in which nations could collaborate and show pavilion. The Exposition showed the photomural the advances they had made. However, in Joies essentielles, plaisirs nouveaux (Essential Joys, the context of totalitarianism in Europe, for New Pleasures), which they made jointly, together countries such as Germany and the Soviet with ephemeral objects and documents about Union the International Exposition in Paris how it was made and about the Exposition. There in 1937 was especially important. It was are many similarities between the photomural and organised by Le Corbusier and in the end it became Léger’s paintings of the time and it also fits in with Ia confrontation between the opposed ideological his hope of improving people’s aesthetic education. positions of East and West, just before the outbreak In addition to celebrating the pleasures of rural of the Second World War. It was also a platform life and the community, the mural also reminds for Léon Blum’s socialist Popular Front, which had us that there are human alternatives to the use come to power in France in May 1936. that countries give to the energies provided by the Second Machine Age in their preparations for Forty-three countries had pavilions in the Exposition. another war. The Soviet and German pavilions were impressive, but most of the other countries presented large, improvised photomurals. They were designed by artists and many of them contained pictures and data concerning subjects such as national economies or tourism. Despite being caught up in an atrocious civil war, Spain contributed a pavilion that included the presentation of Picasso’s painting Guernica (1937), which acted as a powerful image of violence and of fury against fascism.

Léger was invited because of his political inclinations, and he contributed several murals, such as Transmission de l’énergie (Transmission There are many similarities between the photomural and Léger’s paintings of the time and it also fits in with his hope of improving

Fernand Léger Joies essentielles, plaisirs nouveaux. Pavillon de l'Agriculture, Paris, people’s aesthetic education. Exposition Internationale 1937. © Fernand Léger, VEGAP, Valencia, 2019 04 FERNAND LÉGER AND MODERN LIFE POETIC OBJECTS AND THE GREAT SUBJECT

t the end of the 1920s, Léger stopped the processes of chance. Another form of Surrealist making paintings in which the motifs figuration can be seen in Léger’s contribution to were machine-made objects or Hans Richter’s film Dreams That Money Can Buy, modern life in the city and he began made in 1947. to incorporate natural forms in his work, such as shells, leaves or roots. The influence of photography on Léger’s paintings This development occurred almost at can be seen in Composition (1927), in which he the same time as his recognition of presents a series of natural objects isolated in the potential of the camera as another space, as if they were seen through a microscope. way of considering painting. His photographic Photography provided him with “a new mentality. workA Les objets à réaction poétique (Objects of We want to see clearly, we want to understand Poetic Reaction, 1931–36) shows the study that mechanisms, functions, motors […] we realize that Léger made of natural objects and forms, many these details, these fragments, if seen in isolation, of which he found when he was exploring the have a complete and particular life of their own.” forest of Fontainebleau, near Paris, or the seashore in Normandy. He was often accompanied This section of the exhibition also presents key by Charlotte Perriand and Pierre Jeanneret, themes in the artist’s focus on art and life. Léger was collaborators of Le Corbusier, who was Pierre’s convinced of the function that art could perform cousin, and he developed a lifelong working in improving people’s lives. His engagement with relationship with them. His discovery of objects familiar, recognisable, universal images reflects his may recall the Surrealist practice of seeking the intention of producing works that everyone could marvellous in everyday life through openness to understand. His discovery of objects may recall the Surrealist practice of seeking the marvellous in everyday life through openness criticised (art for art’s sake), and art without to the processes objects (abstract art) seems to have ended”.

Léger joined the Communist Party in 1945, of chance. and the paintings in this room sum up his political and artistic convictions and his collaborative Many of the paintings made after 1930 approach. Many of the works also show the represent ideal images of human beings and importance of the influence of the artist Nadia of socialisation, expressing an optimistic view of Khodasevich Léger, whom he met in the 1920s society with regard to the future. Pictures such and married in 1952. In this last period of his as Composition I and Les danseuses aux clés career Léger sought to infuse aesthetic education (Dancers with Keys) present a classical focus on as a way of improving everyday life. Many of his figuration, combining abstract biomorphic forms with architectural and decorative elements works represent circus artistes or acrobats who that appear on the right in each composition. celebrate collective effort as an ideal. In his It is a synthetic modern style, often seen as a Étude pour “Les Constructeurs”: l’équipe au precursor of Pop Art in the 1960s. Léger “wanted repos (Study for “The Constructors”: The Team to proclaim a return to simplicity by way of an at Rest, 1950) the workers are juxtaposed with Fernand Léger immediate art without any subtlety”. Eventually natural biomorphic forms, suggesting a lasting Les deux cyclistes, la mère et l'enfant, 1951. Léger came to consider abstract art union of nature with the constantly changing © Fernand Léger, VEGAP, as inaccessible and in 1950 he even declared world of technology and industry. Valencia, 2019 that “the time of art without a real theme, often 03 BIOGRAPHY ernand Léger (1881–1955) was born in Impressionism of his early works and immerse and presented him to Picasso and Braque. source of inspiration for his new view of the Argentan, Normandy. He was the son himself in the language of the avant-garde. Artefacts and robots converted into cylinders machine civilisation. In 1920 the human figure of a cattle breeder but was orphaned and cones present a perfect portrait of those reappeared in his work, and also an obsession at an early age and had to earn a In 1911, in the Salon des Indépendants, he early years of the twentieth century, a new, with the monumental. living as an artisan before eventually exhibited his Nus dans la forêt (Nudes in dehumanised world. obtaining a place in an architect’s the Forest), a work that, together with La During the Second World War he went into studio. In 1903 he started studying at couseuse (Woman Sewing), represented At a time when photography and new forms exile in the United States, where he taught the School of Decorative Arts in Paris. the beginning of his architectonic concept of visual communication, such as advertising in various universities, gave talks and made of volume and, in general, of his perception posters and neon signs, were becoming mural paintings. When he returned to Paris He began painting shortly afterwards and of architecture and everyday reality. He predominant, his paintings were optimistic he joined the Communist Party, and until his Fdeveloped a very personal style, far removed formed part of the famous circle of artists affirmations of the experience of modern life. death in 1955, in Gif-sur-Yvette, he worked from orthodox Cubism, employing his own and intellectuals who worked in Paris at the variously on paintings, drawings, mosaics, mix of colours and themes related to the beginning of the twentieth century: he met During the First World War he was mobilised decorations, stained glass windows, iconography of machines. At first his work was Rousseau, Delaunay, Cendrars, Apollinaire and and later was hospitalised. The 1914–18 war illustrations of literary works, ceramics and influenced by the French Post-Impressionist Max Jacob, and through these last two he marked the beginning of his machine period, theatre set designs in a period of prolific Paul Cézanne, but the impact of the Cézanne became acquainted with the dealer Daniel- the result of the time he spent in the trenches. creative activity. retrospective in 1907 made him abandon the Henry Kahnweiler, who exhibited his work Technical artefacts provided him with a 04 ROOM 1 LAYOUT OF THE EXHIBITION

1 2 WORKS 1 2 3 4 DETAILS

Homage to Dance, 1925 Mechanical Ballet Mechanical Elements, ABC Three Women on a Red Maeght (Two showings) 1919 Tate Background, 1927 Cat. 1 Cat. 38 Shafran Cat. 45 S. Étienne Cat. 3 Cat. 15 The Disc, 1918 Mechanical Elements, Thyssen Cat. 63 Cat. 96 Cat. 101 Cat. 12 Cat. 42 Cat. 103 1920 Cat. 30 Cat. 64 Cat. 102 Kröller-Müller Cat. 64 Cat. 25

The Typographer, 1919 Kröller-Müller Cat. 24

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TEXTO INTRO LAYOUT OF THE EXHIBITION ROOM 2

7 5 WORKS

5 6 7 8

The Accordion, 1926 Still Life with Vase, The Bridge, 1923 The Big Tugboat, 1923 Van Abbemuseum 1925 Thyssen Cat. 2 Cat. 18 Aberdeen Cat. 31 Cat. 32 Woman and Still Life, Still Life with Trees, 1923 1921 Fruit Bowl, 1923 Still Life, 1925 Tate Nat. Gal. of Scotland Mam Lille Staatliche Kunsthalle Cat. 25 Cat. 27 Cat. 5 Cat. 14 Two Women with a Still Life with a Beer Bouquet, 1921 Mug, 1921 BB.AA.Lyon Tate Cat. 37 Cat. 43 Profile, 1926 Manchester A.G. Cat. 52

6 8 LAYOUT OF THE EXHIBITION ROOM 3

11 9 WORKS 9 10 11 12 DETAILS Essential Joys, New Poster, 1937 Expo inauguration video The Red Gear Pleasures. Agriculture MNCARS Multi-projection, Pallant House Pavilion, Paris, Cat. 32 International Exposition Cat. 4 International Exposition 1937 MNCARS Exhibition photos Still Life with Fruit Cat. 36 Cat. 79 Barber Institute Cat. 90 Cat. 23 Cat. 91 Cat. 35 Cat. 93 MNCARS

Agriculture Pavilion Arch. Charlotte Perriand Cat. 58 Cat. 76 Cat. 75 Cat. 77 Cat. 85

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13 14 WORKS

13 15 16

Composition with Green Charlotte Perriand Keys, 1928 Plant, 1939 Photographs Tate Cat. 47 Dreams Objects of Poetic (2 showings) Reaction, 1931-36 Still Life with Shell, 1929 Tree Trunks, 1931 Letter and Pipe, 1928 Silex, 1933 Tate Cat. 48 Handkerchief, 1930

Le Corbusier The Pinnace

16 15 LAYOUT OF THE EXHIBITION ROOM 5

19 17 WORKS 17 18 19 20 DETAILS Tree Trunk on Two Women with Flowers, A Chair, A Flowerpot, Two The Parrots …, Fuller Fabrics, 1956 Yellow Background, 1945 1954 Bottles, 1951 1933 V&A Nat. Gal. of Scotland. Tate Abbemuseum, Eindhoven Beyeler col. Cat. 8 Cat. 28 Cat. 50 Cat. 19 Cat. 21 Cat. 9 My Travels, 1960 Cat. 10 Cat. 7 Study for “The Girl Holding a Flower, Three Bottles, 1954 Dancers with Keys, 1930 Cat. 11 Constructors” …, 1954 Cat. 105 Moderna Museet 1950 Fitzwilliam (Cambridge) (Stockholm) Two Cyclists, Mother and Nat. Gal. of Scotland. Cat. 26 Cat. 16 Child, 1951 Cat. 29 Beyeler col. A Chair and a Flowerpot, Composition I, 1930 Cat. 22 The Circus The Acrobat and 1951 Beyeler col. Cat. 13 His Assistant, 1948 Moderna Museet Cat. 20 Tate (Stockholm) Cat. 49 Cat. 17

18 20 FERNAND LÉGER AND MODERN LIFE 05 From 02-05-2019 to 15-09-2019 Hommage à la danse, 1925 Parade Sauvage, 1956 Oil on canvas, Les deux cyclistes, la mère et Oil on canvas, 159 x 121 cm Screen print on cotton, 138.5 x 92.5 cm l’enfant, 1951 Galerie Maeght Collection 103.7 x 112.5 cm Musée d’Art Moderne et Oil on canvas, Victoria and Albert Museum, Contemporain Saint-Étienne 162 x 114 cm London Métropole Fondation Beyeler, Riehen/ Le grand remorqueur, 1923 Basel LIST Oil on canvas, 73 x 92 cm Parade Sauvage, 1956 Les danseuses aux clés, 1930 Private collection Screen print on cotton, Oil on canvas, Composition aux fruits, 1938 103.7 x 112.5 cm 183 x 250 cm Oil on canvas, Éléments mécaniques, 1919 Victoria and Albert Museum, Moderna Museet, Stockholm 92.2 x 65 cm Oil on canvas, 64.5 x 49.5 cm London The Barber Institute of Fine Une chaise et un pot de Arts Collection of Jake and Hélène Le cirque, 1956 fleurs, 1951 OF WORKS Marie Shafran, London Screen print on cotton, Oil on canvas, Le typographe, 1919 103 x 112 cm 65 x 92.5 cm Oil on canvas, L’engrenage rouge (Nature Victoria and Albert Museum, Moderna Museet, Stockholm 55 x 46 cm morte en rouge et bleu), 1939 London Kröller-Müller Museum, Otterlo Oil on canvas, 49.2 x 64.2 cm L’accordéon, 1926 Pallant House Gallery, Tête de Cheval, 1956 Oil on canvas, Élément mécanique, 1920 Chichester, United Kingdom Screen print on cotton, 130.5 x 89 cm Oil on canvas, 103 x 111 cm Van Abbemuseum Collection, 50 x 65 cm (Kearley Bequest, through Victoria and Albert Museum, Eindhoven Kröller-Müller Museum, Otterlo The Art Fund, 1989) London Une chaise, un pot de fleurs, Jeune fille tenant une fleur, Nature morte au compotier, Lunes en papier, 1922 deux bouteilles, 1951 1954 1923 Book, 32.4 x 23.4 cm Oil on canvas, Oil on canvas, Oil on canvas, 117 x 81 cm Victoria and Albert Museum, 76 x 94.8 cm 55.8 x 46.6 cm Musée d’art moderne Lille London Van Abbemuseum Collection, The Fitzwilliam Museum, Eindhoven Cambridge Métropole Cirque, 1950 Lithograph and typography Composition I, 1930 Femme et nature morte, 1921 Nature morte aux on paper, 42.5 x 65 cm Oil on canvas, Oil on canvas, coquillages, 1929 Victoria and Albert Museum, 141 x 291 cm 65.5 x 92 cm Oil on canvas, 92 x 65.5 cm London Fondation Beyeler, Riehen/ National Galleries of Scotland. Courtesy of Ben Brown Fine Basel Purchased in 1966 Arts, London Nature morte, 1925 Oil on canvas, 92 x 65 cm Les perroquets Le tronc d’arbre sur fond Staatliche Kunsthalle (Les acrobates), 1933 jaune, 1945 Mes voyages, 1960 Karlsruhe Oil on canvas, Oil on canvas, Book, 38 x 54 cm 130 x 162 cm 112.5 x 127 cm Victoria & Albert Museum, Trois femmes sur Fondation Beyeler, Riehen/ National Galleries of Scotland. London fond rouge, 1927 Basel Purchased in 1981 Étude pour “Les moderne, Paris 1937, 1937 Nature morte à la chope, 1921 25 photographs, gelatin silver Pavillon des Temps Nouveaux, Constructeurs”: l’équipe au Library and Documentation Oil on canvas, print on paper, 5.4 x 5.4 cm Exposition internationale, repos, 1950 Centre, Museo Nacional Centro 92.3 x 60.4 cm each; 32.5 x 32.5 x 3 cm Paris, 1937 Oil on canvas, de Arte Reina Sofía, Madrid Purchased with assistance Tate Liverpool. Purchased Pencil on paper, 162 x 129.5 cm from the Friends of the Tate with assistance from the 51 x 94 cm National Galleries of Scotland. Joies essentielles, plaisirs Gallery, 1976 Photography Acquisitions Fondation Le Corbusier, Paris Purchased in 1984 nouveaux. Pavillon de Committee, Konstantin l’Agriculture, Paris, Exposition Arbres, 1923 Grigorishin and the Art Fund Pavillon des Temps Nouveaux, Le disque, 1918 internationale, 1937 / 2011 Graphite on paper, 2013 Exposition internationale, Oil on canvas, Acrylic, collage and print on 32.5 x 24.5 cm Paris, 1937 65 x 54 cm paper on board, 350 x 941 cm Bequeathed by Elly Kahnweiler Peinture, 1926 Chromogenic print on card, Museo Nacional Thyssen- Museo Nacional Centro de 1991 to form part of the gift of Oil on canvas, 14.5 x 21.5 cm Bornemisza, Madrid Arte Reina Sofia, Madrid. Gift Gustav and Elly Kahnweiler, 65.1 x 46 cm Fondation Le Corbusier, Paris of Archives Charlotte Perriand- 1994 Manchester Art Gallery Le pont, 1923 Pernette Perriand Barsac, Paris, Agricultural reorganisation, Oil on canvas, 2014 ABC, 1927 Naissance d’une cité rural urban development. Study 92.2 x 61 cm Gouache on paper, performed in the Vélodrome of the elevation of the various Carmen Thyssen-Bornemisza Les deux femmes au bouquet, 19.4 x 27.8 cm d’hiver (Palais des sports), parts of panel XII, sketches and Collection on loan to Museo 1921 Presented by Gustav and Elly Paris, October 1937 various notes, 1937 Nacional Thyssen-Bornemisza, Oil on canvas, Kahnweiler, 1974, accessioned Costumes and set design by Ink on paper, Madrid 82 x 65.5 cm 1994 Fernand Léger, 1937 32 x 91 cm Musée des Beaux-Arts de Lyon Facsimile Fondation Le Corbusier, Paris Nature morte avec vase, 1925 Les clés (Composition), 1928 Boris Lipnitzki/Roger Viollet Oil on canvas, Ballet mécanique, 1923 Oil on canvas, Le Corbusier 76.7 x 68.3 cm B&W film. Silent. 13 min. 65.1 x 53.7 cm Naissance d’une cité La pinasse, 1932 Aberdeen City Council Centre Pompidou, Paris. Musée Presented by Mrs. Fanny performed in the Vélodrome Oil on canvas, (Art Gallery & Museums national d’art moderne / Wadsworth, 1951 d’hiver (Palais des sports), 89 x 130 cm Collections). Purchased in Centre de création industrielle Paris, October 1937 Fondation Le Corbusier, Paris 1937 with income from the Costumes and set design by Carte et pipe, 1928 Macdonald Bequest Mouchoir, 1930 Fernand Léger, 1937 Léger on the laboratory set Oil on canvas, Ink on paper, Facsimile, that he designed for Marcel 60 x 91.8 cm Poster for the Exposition 55 x 61.17 x 2 cm 22 x 31 cm L’Herbier’s film L’Inhumaine, Presented by Mrs. Fanny internationale de Paris, 25 May Musée d’Art moderne, Belfort. Boris Lipnitzki/Roger Viollet 1923 Wadsworth, 1951 to 25 November, 1937 Gift of Maurice Jardot Facsimile Facsimile Sketch for the Musée Courtesy of Lobster Films, Paris L’acrobate et sa partenaire, Library and Documentation Troncs d’arbres, 1931 d’esthétique contemporaine 1948 Centre, Museo Nacional Centro Oil on canvas, (unrealised project) with sketch Léger on the laboratory set de Arte Reina Sofía, Madrid 92 x 65 x 5 cm Oil on canvas, for monumental painting, 1936 that he designed for Marcel Musée d’Art moderne, Belfort. 130.2 x 162.6 cm Pencil on paper, L’Herbier’s film L’Inhumaine, Official magazine of the Gift of Maurice Jardot Tate Liverpool, purchased in 29.1 x 92.7 cm 1923 Exposition internationale des 1980 Fondation Le Corbusier, Paris Facsimile arts et techniques dans la vie Silex, 1933 Courtesy of Lobster Films, Paris moderne, Paris 1937, 1936 Ink on paper, Deux femmes tenant des Pavillon des Temps Nouveaux, Facsimile 51 x 57.6 x 2 cm fleurs, 1954 Exposition internationale, Léger on the laboratory set Library and Documentation Musée d’Art moderne, Belfort. Oil on canvas, Paris, 1937 that he designed for Marcel Centre. Museo Nacional Centro Gift of Maurice Jardot 97.2 x 129.9 cm Photograph on paper, L’Herbier’s film L’Inhumaine, de Arte Reina Sofia, Madrid Tate Liverpool, purchased in 34 x 61 cm 1923 L’architecture vivante, 1924 1959 Fondation Le Corbusier, Paris Facsimile Official catalogue of the Print on paper, Courtesy of del British Film Exposition internationale des 29 x 27.7 x 39 cm Les objets à réaction poétique, Study of the perspective of the Institute, London - Lobster arts et techniques dans la vie RIBA Collections 1931 façade of the entrance to the Films, Paris Dreams That Money Can Buy, Gelatin silver, Pavillon de l’Agriculture, Exposition internationale, Exposition internationale, 1947 30 x 24 cm Exposition internationale des Paris, 1937 Paris, 1937 Colour film. Sound. 99 min. Féher/Archives Charlotte arts et techniques, Paris. Gelatin silver on paper, Gelatin silver on paper, Courtesy of the British Film Perriand Photomontages painted by 49 x 32 cm 24 x 17 cm Institute, London Fernand Léger and Charlotte Kollar/ Archives Charlotte Satigny/Archives Charlotte Photograph selected by Perriand, 1937 Perriand Perriand Photograph selected by Charlotte Perriand for Digital print, Charlotte Perriand for the photomontage Joies 28 x 28.5 cm Flint nodule, 1933 Programme of Naissance the photomontage Joies essentielles, plaisirs nouveaux, Kollar/Archives Charlotte Inkjet photographic print. d’une Cité, 1937 essentielles, plaisirs nouveaux, 1937 Perriand Printed in 2018 on paper, Chromogenic print on paper, 1937 Gelatin silver, 20 x 20 cm 24.2 x 15.6 cm Inkjet photographic print, 18 x 23.1 cm Photograph selected by Archives Charlotte Perriand ADAGP/Fernand Léger/ 23 x 16.8 cm Ylla/Archives Charlotte Charlotte Perriand for the Archives Charlotte Perriand Nora Dumas/Archives Perriand photomontage La France Flint nodule with a ring, 1933 Charlotte Perriand Industrielle, 1937 Inkjet photographic print. Exposition internationale Photograph selected by Gelatin silver on paper, Printed in 2018 on paper, des arts et techniques Photograph selected by Charlotte Perriand for the 49 x 31.5 cm 24 x 24.1 cm appliqués à la vie moderne, Charlotte Perriand for photomontage La France Photograph Archives Charlotte Perriand Paris. General view from the the photomontage Joies industrielle, 1937 Kollar/Archives Charlotte Eiffel Tower, 1937 essentielles, plaisirs nouveaux, Gelatin silver, Perriand Piece of iron, 1933 Facsimile 1937 48 x 33 cm Inkjet photographic print. © Anonyme- bhdv-cliché Inkjet photographic print, Kollar/Archives Charlotte Photograph selected by Printed in 2018 on paper, Parisienne de photographie 21.5 x 17.6 cm Perriand 24 x 24.1 cm Bibliothèque de l’Hôtel de Ville Archives Charlotte Perriand Charlotte Perriand for the photomontage Joies Archives Charlotte Perriand Photograph selected by Exposition internationale Photograph selected by essentielles, plaisirs nouveaux. Charlotte Perriand for the Pavillon de l’Agriculture, des arts et techniques Charlotte Perriand for Pavillon de l’Agriculture, photomontage La France Exposition internationale des appliqués à la vie moderne, the photomontage Joies Exposition internationale, industrielle, 1937 arts et techniques, Paris, 1937 Paris. View from the Eiffel essentielles, plaisirs nouveaux. Paris, 1937 Gelatin silver, Inkjet photographic print on Tower, 1937 Pavillon de l’Agriculture, Gelatin silver on paper, 33 x 48 cm paper, Facsimile Exposition internationale, 36.4 x 31.9 cm Kollar/Archives Charlotte 25 x 24 cm © Anonyme- bhdv-cliché Paris, 1937 Kollar/Archives Charlotte Perriand ADGP/Archives Charlotte Parisienne de photographie Gelatin silver, Perriand 18.5 x 17.4 cm Perriand Bibliothèque de l’Hôtel de Ville Pavillon de l’Agriculture, Laura Dumas/Archives Photograph selected by Exposition internationale Pavillon de l’Agriculture, Henri Exposition internationale Charlotte Perriand Charlotte Perriand for des arts et techniques, Paris. Pacon and André Masson- des arts et techniques, 1937. the photomontage Joies Photomontages painted by Detourbet, architects German Pavilion crowned by Photograph selected by essentielles, plaisirs nouveaux. Charlotte Perriand for Fernand Léger and Charlotte Photomontages and displays the eagle, designed by Albert Pavillon de l’Agriculture, the photomontage Joies Perriand, 1937 by Charlotte Perriand and Speer Exposition internationale, essentielles, plaisirs nouveaux, Digital print, Fernand Léger, 1937 Facsimile Paris, 1937 1937 28 x 40 cm Inkjet photographic print. © Thérèse Bonney- bhvp Gelatin silver, Kollar/Archives Charlotte Gelatin silver on paper, Printed in 2018 on paper, cliché Parisienne de 24.1 x 18 cm Perriand 49 x 32 cm 28 x 40 cm photographie Laura Dumas/ Archives Kollar/Archives Charlotte ADGP/Archives Charlotte Bibliothèque historique de la Charlotte Perriand Pavillon de l’Agriculture, Perriand Perriand Ville de Paris Exposition internationale des Photograph selected by arts et techniques, Paris, 1937 Photograph selected by Photograph selected by Exposition internationale Charlotte Perriand for Inkjet photographic print, Charlotte Perriand for Charlotte Perriand for des arts et techniques, the photomontage Joies 21 x 30.3 cm the photomontage Joies the photomontage Joies 1937. Pavillon de l’Union des essentielles, plaisirs nouveaux, Kollar/Archives Charlotte essentielles, plaisirs nouveaux. essentielles, plaisirs nouveaux. Artistes Modernes. Great 1937 Perriand Pavillon de l’Agriculture, Pavillon de l’Agriculture, exhibition hall © Thérèse Bonney- bhvp Exposition internationale Astral: ein Gesang, 1920 30.8 x 21.8 cm La fin du monde filmée par cliché Parisienne de des arts et techniques, 1937. Facsimile IVAM Institut Valencià d’Art l’ange de Notre-Dame, 1919 photographie Pavillon de l’Union Bodleian Libraries. University Modern, Generalitat Typography, Bibliothèque historique de la des Artistes Modernes of Oxford 31.7 x 25.2 cm Facsimile Ville de Paris J’ai tué, text by Blaise Cendrars IVAM Institut Valencià d’Art © Thérèse Bonney- bhvp Broom, vol. 1, no. 3, and 5 drawings by Fernand Modern, Generalitat cliché Parisienne de January 1922 Léger, 1918 Exposition internationale photographie Woodcut on soft beige card. Rotogravure and typography, Verve, vol. 1, no. 1, December des arts et techniques, 1937. Bibliothèque historique de la Printed in two colours, orange 19 x 19 cm 1937 USSR Pavilion. Group Ville de Paris and maroon, IVAM Institut Valencià d’Art Paper on paper, 11 x sculpted in pink marble 51.2 x 35.6 cm Exposition internationale 32.5 x 23 cm Modern, Generalitat Facsimile Tate Library des arts et techniques IVAM Institut Valencià d’Art © Thérèse Bonney- bhvp appliques à la vie moderne. Modern, Generalitat Composition à la plante verte, Les trois bouteilles, 1954 cliché Parisienne de Paris, 27 March 1937 1939 Oil on board, photographie Facsimile Broom, vol. 2, no. 4, July 1922 Oil on board, 97 x 130 cm 33 x 46 cm Bibliothèque historique Bibliothèque historique de la Woodcut on soft beige card. E&R Cyzer /Alon Zakaim Fine de la Ville de Paris Ville de Paris Printed in blue, Art Ltd. Tate Liverpool 06 PARALLEL ACTIVITIES

CONVERSATION TOUR GUIDED VISITS Conversation about the exhibition with Tour of the exhibition with Vicente Benet Guided visits to the show the curator Darren Pih. as part of Museum Day. on Saturdays and Sundays. 3 May 7 pm 18 May Consult www.ivam.es Talk about the exhibition Consult www.ivam.es to confirm dates and times given by Jordi Costa. to confirm dates and times 23 May 7 pm 07 PRACTICAL LOCATION AND OPENING TIMES Guillem de Castro, 118, Valencia Tuesday to Sunday from 10 am to 7 pm Friday from 10 am to 9 pm IVAM INFORMATION Monday closed PRICES Normal admission: € 6

Free admission Friday from 7 to 9 pm Saturday from 3 to 7 pm Sunday all day

Students (up to age 35) / Carnet jove: € 3

Cultural/civic groups (prior booking required): € 3 / € 4 per person

Free admission: under 18s, people registered as unemployed, disabled people, retired people and pensioners, teachers, large families, UPV Fine Arts students (up to age 35 every Wednesday), school groups (prior booking required)

Sale of tickets at the museum’s reception desk and from the IVAM website.

Groups: 96 317 66 00

More information www.ivam.es

Back cover Fernand Léger Ballet mécanique, 1923. B&W film. Silent. 13 min. Centre Pompidou, Paris. ©Fernand Léger, VEGAP, Valencia, 2019