In the excerpt ‘The Origins of Painting and its Representational Value,’ Léger seeks to describe the concept of realism in modern art as well as answer the question most commonly associated with modern pictures: “What does that represent?” Léger develops his claims on modern art and his response to what he considers a nonsensical question by comparing a work of art’s imitative capabilities with its realistic value, defining as best he can the concept of pictorial realism, and by providing a history on revolutions of art that allowed for modern art’s evolution. The themes Léger discusses pertaining to modern art are depicted and supported in his paintings The Smokers and the Contrast of Forms. One of Léger’s early remarks insists upon the
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While their works required a new understanding of the use of color, they do not qualify as realism due to the abandonment of form and line. Instead of existing in subject or form, the imitative qualities of impressionist paintings presented themselves through colors. When the persistence of imitation in impressionist works was noticed, visual realism met realism of conception and modern art was born. Visual realism requires a subject and perspective that prohibit realism in art, while realism of conception was the revolution in art that encouraged pictorial realism (203). This revolution paved the way for the evolution of modern …show more content…
Compared to The Smokers, Contrast of Forms is further stripped down to the raw lines, colors, and forms of the painting. The Smokers features the two subjects of the painting in the bottom right corner, and while the work is certainly not an imitation of a smoking scene, it is closer to an imitation than Léger’s Contrast of Forms. This is the case because The Smokers unlike Contrast of Forms is a scene that leads to visualization upon hearing the title of the painting. The relationships between line, color and form in Contrast of Forms is more observable in the way the three components interact to create dynamic and distinguishable shapes. The Smokers was painted in late 1911 to early 1912 whereas Contrast of Forms came a year later, allowing time for Léger to develop, modify, and perfect his modernist style in order to attain a purer
While their works required a new understanding of the use of color, they do not qualify as realism due to the abandonment of form and line. Instead of existing in subject or form, the imitative qualities of impressionist paintings presented themselves through colors. When the persistence of imitation in impressionist works was noticed, visual realism met realism of conception and modern art was born. Visual realism requires a subject and perspective that prohibit realism in art, while realism of conception was the revolution in art that encouraged pictorial realism (203). This revolution paved the way for the evolution of modern …show more content…
Compared to The Smokers, Contrast of Forms is further stripped down to the raw lines, colors, and forms of the painting. The Smokers features the two subjects of the painting in the bottom right corner, and while the work is certainly not an imitation of a smoking scene, it is closer to an imitation than Léger’s Contrast of Forms. This is the case because The Smokers unlike Contrast of Forms is a scene that leads to visualization upon hearing the title of the painting. The relationships between line, color and form in Contrast of Forms is more observable in the way the three components interact to create dynamic and distinguishable shapes. The Smokers was painted in late 1911 to early 1912 whereas Contrast of Forms came a year later, allowing time for Léger to develop, modify, and perfect his modernist style in order to attain a purer