EN 
£r 
of = 
° x Hr 
. 1931. ‘ 
COMPOSITION pb 
0 AVEC wt 
— = FIGURE a 
| = (ESQUISSE). | 
5 Lx FT 
A AE 
Oy Eg 
DR 
fy ait z 
1931. 
ÉTUDE 
D'OBJET. 
1931. LES CHAISES (ESQUISSE). 
… The third of the trio, Leger, has had no trumpeter of authority to sound 
a similar greatness. And the time may be past in which such a trumpeter is 
likely to appear. For Cubism has had its day as a sensation—as an end in 
itself, and now the practical decorators and the architects are helping themselves 
to the discoveries of Picasso, Braque and Leger for practical purposes. 
However, in time to come, it is possible that art historians will discover that 
Leger, if not the greatest of the three, is the most typical of the age in which he 
flourished. 
For it is Leger who makes his pictures more particularly out of the motifs of 
this age of machinery. If the Cubists followed the Cezanne cube-cone-cylinder 
dictum, Picasso and Braque stuck closer to the cube and to the pyramid, which, 
whirling, generates a cone. These are the mystic mathematical figures of old 
times—Picasso and Braque paid tribute to the hoary ages. A certain timeless 
poetry pervades what they do. 
Leger, however, adopted the cylinder of Cezanne, and he found this cylinder 
operative in modern machinery. From cylinders and the machine he constructs 
his Cubistic things.