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Extra info for Fernand Leger - The Later Years
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Activity, imparts movements. ' The 'discovery of the body' and vital basis . gives the time It modern fitting place in its . introduces the law of balance It which governs work and repose. factor life outworn of its health as a and indeed for productivity of any kind, and the belief all sport as the in fountainhead of regeneration for the human individual and renewal for Western civilization goes back to the 1890s, when Baron Coubertin revived the Olympic Games and identified sport with his own quasi-religious and pacifist ideals.
Project could be realized, 22 but his maquette was rhythms made up of lays 'figures as objects' that began to take years in of distances and of been subordinated to the hard in isolated and wholly individual rhythm' of Leger' s painting. 20 The itself He took up 19 Douglas Cooper, too, the Stadion. motif of La Grande radiate foreground and background colours, of 'vital la design for a stadium LaDanse, 1944 'I de Culture Physique - in mosaic with polychrome sculpture, on the facade of the Musee Leger 14 On this see also Klaus Wolbert, Die Nackten und die Toten des 'Dntten Reiches', Giessen 1982.
As early life, lecture 'From the Acropolis to new beauty Tower', he invoked the sportsmen and sportswomen en masse, the of 'parallelism of their gestures, repeated a thousand times over' and the 'magnificent orchestration of "^^j^sW ^s ""f \;* \j . rhythmic and ordered groupings'. At the same time, he was fascinated * M|CjS, . ' . in the same rhythm, 'les now that 8 . Two years previously, written approvingly of the in Cahiers d'Art, he had new trend in ballet, away from the soloist and towards dynamic group performance: 'Collective, organized for their ballet.