Lithograph on vélin blanc Grillet et Féau paper. Paper Size: 12.6 x 9.84 inches. Excellent condition. Inscription: Unsigned and unnumbered, as issued. Notes: From the volume, Levers de rideau sur la question du bonheur, Avec des Illustrations de Fernand Leger, 1955. Published by Éditeurs Français Réunis, Paris; printed by l'Imprimerie Bourlot, Paris, November 10, 1955. Excerpted from the volume (translated from French), This volume went to print the November 10, 1955 on the presses of l'Imprimerie Bourlot, in Paris, for lithographies. And on the presses of l'Imprimerie Crété in Corbeil-Essonnes, for the text. It was shot for this volume, CXX examples on Hollande van Gelder including X numbered examples of I to X accompanied by II suites of paper illustrations from Chine; XXX examples, numbered from XI to XL accompanied by a suite on Chine, LX examples without a sequel numbered from XLI to CET; XX examples of collaborators brands H.C.L.; and, MC examples on vélin blanc Grillet et Féau, including M examples numbered from I to M and C examples outside the trade marked H.C. FERNAND LEGER (1881-1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism (known as "tubism") which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art. Léger was born in Argentan, Orne, Lower Normandy, where his father raised cattle. Fernand Léger initially trained as an architect from 1897 to 1899, before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts after his application to the École des Beaux-Arts was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907. In 1909, he moved to Montparnasse and met Alexander Archipenko, Jacques Lipchitz, Marc Chagall, Joseph Csaky and Robert Delaunay. In 1910, he exhibited at the Salon d'Automne in the same room (salle VIII) as Jean Metzinger and Henri Le Fauconnier. In his major painting of this period, Nudes in the Forest, Léger displays a personal form of Cubism that his critics termed "Tubism" for its emphasis on cylindrical forms. In 1911, the hanging committee of the Salon des Indépendants placed together the painters identified as 'Cubists'. Metzinger, Albert Gleizes, Le Fauconnier, Delaunay and Léger were responsible for revealing Cubism to the general public for the first time as an organized group. The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also called the Section d'Or (The Golden Section) paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as seen in the series of paintings with the title Contrasting Forms. Léger made no use of the collage technique pioneered by Braque and Picasso.