Fernand Leger Quotes

• 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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• Man needs color to live; it's just as necessary an element as fire and water.

  Fernand Leger

  Men, Color, Fire

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• The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.

  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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• 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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• Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.

  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

  Beautiful, Art, Moving

  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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• 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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• The feat of superbly imitating a muscle, as Michelangelo did, or a face, as Raphael did, created neither progress nor a hierarchy in art. Because these artists of the sixteenth century imitated human forms, they were not superior to the artists of the high periods of Egyptian, Chaldean, Indochinese, Roman, and Gothic art who interpreted and stylized form but did not imitate it.

  Fernand Leger

  Art, Progress, Faces

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• This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting

  Fernand Leger

  Understanding, Assuming, Painting

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