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WEY Fay, | 
1931. LE COLLIER BLEU. 
Not that he shuns the straight line or the cube or the cone when he finds”them 
desirable, but his genius runs to curves, just as did the genius of Cezanne when 
painting females nudes. The difference between Leger’s Cubistic paintings and those 
of Picasso and Braque are roughly the difference vetween Renoir and Cezanne. 
Leger is much easier to ‘‘understand’’ than either Braque or Picasso. Any 
observer of a goodly number of modern pictures will experience little difficulty in 
the Johnson gallery during the present hansing. 
A woman of Leger is a woman, flower is a flower, a key is a key—and Leger 
1s fascinated by a bering with keys dangling from it. ‘‘La Joconde aux Clés’’ 
is an example of what is pictorially possible by magnification of a pocket ring and 
its pendants to the size of a woman's head. 
While Leger’s Cubistic pictures are simple and literal, they exhibit a genius strong and 
sure in drawing and sensitive in color. ‘“ Composition, 1929’’, displays a color harmony of 
mysterious overtones that comes of genius working in a frenzy and not calculating coldly. 
C.-J. BULLIET. 
(The Chicago Evening Post, 3, 111, 31).