Fernand Leger frases

• Above all, it is a matter of loving art, not understanding it.

  Fernand Leger

  Art, Understanding, Matter

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• Colour is a human need like water and fire. It is a raw material indispensable to life

  Fernand Leger

  Fire, Water, Needs

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• I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.

  Fernand Leger

  Curves, Color, Lines

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• Lo Bello está en todas partes; quizá más en la disposición de sus cacerolas en las paredes blancas de su cocina que en su salón dieciochesco o en los museos oficiales.

  Fernand Leger

  Beautiful, Wall, Museums

  Carolyn Lanchner, Fernand Léger, Jodi Hauptman, Matthew Affron (1998). “Fernand Léger: [Exposición] The Museum of Modern Art, New York, February 15-May 12, 1998”, p.124, The Museum of Modern Art

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• El hombre necesita el color para vivir; es un elemento tan necesario como el fuego y el agua.

  Fernand Leger

  Men, Color, Fire

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• The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.

  Fernand Leger

  Fire, Water, Joy

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• Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.

  Fernand Leger

  Men, Order, Creation

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• Las enormes ampliaciones de un objeto o un fragmento le confieren una personalidad que antes no tenía y, de este modo, puede convertirse en un vehículo de una potencia lírica y plástica totalmente nueva.

  Fernand Leger

  Giving, Personality, Enlargement

  Fernand Léger, Katharine Kuh (1953). “Léger: Catalogue of Th Exhibition Organized by the Art Institute of Chicago in Collaboration with the Museum of Modern Art, New York and the San Francisco Museum of Art”

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• Even a part of an object has value. A whole new realism resides in the way one envisages an object or one of its parts.

  Fernand Leger

  Way, Realism, Whole

  Fernand Léger, Katharine Kuh (1953). “Léger: Catalogue of Th Exhibition Organized by the Art Institute of Chicago in Collaboration with the Museum of Modern Art, New York and the San Francisco Museum of Art”

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• What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic - this is by no means the same thing.

  Fernand Leger

  Hermoso, Arte, Conmovedor

  Pablo Picasso, Georges Braque, Fernand Léger, Minneapolis Institute of Arts, Sarah Campbell Blaffer Gallery (1975). “Picasso, Braque, Léger: masterpieces from Swiss collections”

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• La proeza de imitar magníficamente un músculo, como hizo Miguel Ángel, o un rostro, como hizo Rafael, no creó ni progreso ni jerarquía en el arte. Como estos artistas del siglo XVI imitaban formas humanas, no eran superiores a los artistas de los altos periodos del arte egipcio, caldeo, indochino, romano y gótico, que interpretaban y estilizaban la forma pero no la imitaban.

  Fernand Leger

  Art, Progress, Faces

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• The realistic value of a work is completely independent of its properties in terms of content.

  Fernand Leger

  Independent, Realistic, Term

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• Esta verdad debe ser reconocida como un dogma y asumir la validez de un axioma en la comprensión general de la pintura

  Fernand Leger

  Understanding, Assuming, Painting

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