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Claude Monet lived at Giverny for forty-three years, from 1883 to his death in 1926. In 1893 he acquired a piece of land where he recreated this water garden which he knew from Japanese prints. The water lilies he planted in the pond would in turn inspire him to his greatest creations in the last decades of his life, les Nymphéas.
© 2022 Marc Haegeman. All Rights Reserved.
The Monastère de Brou, located in the town of Bourg-en-Bresse, is a stunning example of flamboyant Gothic architecture. It was constructed in the early 16th century by Marguerite d’Autriche, Duchess of Savoy, as a testament to her love for her deceased husband, Philibert le Beau.
The centerpiece of the monastery is its church, adorned with a polychrome glazed tile roof. Inside the church lie the princely burials of Philibert II of Savoy, Marguerite of Austria, and Marguerite of Bourbon. These tombs are a masterpiece of finely sculpted details, crafted by the best regional and Flemish artists of the time.
One of the remarkable features of the Monastère de Brou is the chapel of Margaret of Austria, which houses a stunning stained glass window depicting the Assumption and a white marble altarpiece portraying the Seven Joys of the Virgin. The altarpiece is adorned with seven niches, each representing a significant event in the life of the Virgin Mary, such as the Annunciation, the Nativity, and the Assumption.
The church's choir also features old stained glass windows, wooden stalls, and a rood screen, all created by master glassmakers from Lyon and other talented artists.
Aside from the church and its treasures, visitors can explore three cloisters within the monastery: the first cloister, the large cloister, and the cloister of the outbuildings. Each cloister offers unique architectural and artistic elements.
Furthermore, the monastic buildings house a municipal museum, where an impressive collection of art is presented. The art collection includes Flemish and French paintings ranging from the 15th to the 20th century, old religious sculptures, Renaissance furniture, Bressan furniture, and Meillonnas earthenware.
A visit to the Monastère de Brou promises to be a delightful experience, showcasing the rich history and artistic excellence of the region during the 16th century. The monastery serves as a testament to the love and devotion of Marguerite d’Autriche to her husband and stands as a timeless masterpiece of Gothic art.
Please enlarge to see detail
The Monastère de Brou, located in the town of Bourg-en-Bresse, is a stunning example of flamboyant Gothic architecture. It was constructed in the early 16th century by Marguerite d’Autriche, Duchess of Savoy, as a testament to her love for her deceased husband, Philibert le Beau.
The centerpiece of the monastery is its church, adorned with a polychrome glazed tile roof. Inside the church lie the princely burials of Philibert II of Savoy, Marguerite of Austria, and Marguerite of Bourbon. These tombs are a masterpiece of finely sculpted details, crafted by the best regional and Flemish artists of the time.
One of the remarkable features of the Monastère de Brou is the chapel of Margaret of Austria, which houses a stunning stained glass window depicting the Assumption and a white marble altarpiece portraying the Seven Joys of the Virgin. The altarpiece is adorned with seven niches, each representing a significant event in the life of the Virgin Mary, such as the Annunciation, the Nativity, and the Assumption.
The church's choir also features old stained glass windows, wooden stalls, and a rood screen, all created by master glassmakers from Lyon and other talented artists.
Aside from the church and its treasures, visitors can explore three cloisters within the monastery: the first cloister, the large cloister, and the cloister of the outbuildings. Each cloister offers unique architectural and artistic elements.
Furthermore, the monastic buildings house a municipal museum, where an impressive collection of art is presented. The art collection includes Flemish and French paintings ranging from the 15th to the 20th century, old religious sculptures, Renaissance furniture, Bressan furniture, and Meillonnas earthenware.
A visit to the Monastère de Brou promises to be a delightful experience, showcasing the rich history and artistic excellence of the region during the 16th century. The monastery serves as a testament to the love and devotion of Marguerite d’Autriche to her husband and stands as a timeless masterpiece of Gothic art.
Le cerf incarne , la douceur et la sagesse, l'indépendance et la créativité. Il est aussi symbole de régénération et de renouveau
A museum opened in 1986 in Paris that used to be the Orsay Station (Gare d'Orsay). It houses French art from 1848 to 1915.
The station building was built from 1898 to 1900
these are some of my better on the coach shots of the museum.
The Musée d'Orsay is a museum in Paris, France, on the left bank of the Seine, housed in the former railway station, the Gare d'Orsay. It holds mainly French art dating from 1848 to 1915, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
Passing the square with the entrance to the Gare du Musée d'Orsay. Rhino sculpture is now on the left.
The Musée d'Orsay station is a railway station located in the 7th arrondissement of Paris.
It is operated by the SNCF in the basement of the old Gare d'Orsay, which was monumental station for 39 years the railhead of the company's railway from Paris to Orleans, which has been transformed into a museum dedicated the art of the nineteenth century in the 1980s under the name of the Orsay Museum. The building was declared a historical monument in 1978.
The square is called Place Henry Millon de Montherlant.
☆Location: Metropolitan Museum of Art, New York City, USA
Sources: www.nytimes.com/2016/12/08/arts/design/got-an-hour-see-th...
www.metmuseum.org/art/collection/search/437903
I found in The New York Times a snapshot of this wonderful portrait in frame.
Rus: Я нашёл в "Нью-Йорк Таймс" фотоснимок этого чудного портрета в раме
АЛЕКСАНДР-ФРАНСУА ДЕПОРТ - Кладовая с артишоками, цветной капустой и корзиной грибов
☆📀
Private collection.
Sotheby's Paris / Collection Louis Grandchamp Des Raux: Le Choix De L’élégance En Association Avec Artcurial, March 26, 2015.
Sources: www.sothebys.com/en/auctions/ecatalogue/2015/collection-g...
Near Paris, France. The Château de Versailles, a UNESCO World Heritage Site, is one of the most beautiful achievements of 18th-century French art. The site began as Louis XIII's hunting lodge before his son Louis XIV transformed and expanded it, moving the court and government of France to Versailles in 1682. Each of the three French kings who lived there until the French Revolution in 1789 added improvements to make it more beautiful. The Château of Versailles plus its grounds covers 2,014 acres, making it the World’s Largest Royal Domain.
Museum in the former Gare d'Orsay railway station on the River Seine.
Further back on the far left is the Caisse des Depots.
It's full name is the Caisse des Dépôts et Consignations.
The Deposit and Consignment Office (CDC), sometimes simply called Caisse des Depots, is a public financial institution created in France in 1816. Placed under the direct supervision of Parliament, it operates in the public interest on behalf of the state and local governments, but also in competitive activities.
It is on Quai Anatole France.
Caisse des Dépôts is created by one of the great laws of the Restoration of April 28, 1816 to restore confidence in public finances, after the disorders of the First Empire. With its autonomous status, it can manage private funds outside the budget of the state and ensure the protection of savings. Beginning in 1816, it manages consignments and pensions of officials and invests the funds entrusted to its management.
The Musée d'Orsay is a museum in Paris, France, on the left bank of the Seine, housed in the former railway station, the Gare d'Orsay. It holds mainly French art dating from 1848 to 1915, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
D'après une oeuvre d'Auguste Rodin (1840-1917)
In the stillness of bronze,
a tempest coils beneath the skin.
Fingers clenched not in fury,
but in defiance —
as if to keep the heavens from collapsing,
as if one gesture might silence the thunder
of a thousand thoughts.
Frozen in a moment
where chaos meets resistance,
the hand does not tremble.
It remembers.
It endures.
It holds back the storm.
Dans l’immobilité du bronze,
une tempête serpente sous la peau.
Les doigts ne se crispent pas de colère,
mais de défi —
comme pour empêcher le ciel de s’effondrer,
comme si un seul geste pouvait faire taire
le tonnerre de mille pensées.
Figée dans l’instant
où le chaos affronte la résistance,
la main ne tremble pas.
Elle se souvient.
Elle endure.
Elle retient l’orage.
Musée d'Orsay is a Beaux-Arts edifice built in 1898.
It holds mainly French art dating from 1848 to 1915,.Its extensive collection of impressionist masterpieces, by such painters as Monet, Manet, Degas, Renoir, Cezanne, Seurat, Gauguin and Van Gogh, is the largest in the world.
Please don't use this image on websites,
blogs or other media without my explicit permission.
© All rights reserved
Thanks everyone, thanks for all the votes,comments, visits, support, critics, invites, awards, etc ...
Maximilien Luce (1858-1941) - Les batteurs de pieux [The pile drivers] (1902-1903). In the collection of the Musée d'Orsay. Shown at the temporary exhibition "Maximilen Luce: The instinct for landscape" at Musée de Montmartre, Paris, March-September 2025.
on the pont alexandre iii, this cherubic figure brings to life the bridge’s spirit of french grandeur and artistic legacy. positioned against the iconic eiffel tower, it’s as if this bronze guardian watches over the city, embodying the beauty and timeless allure of paris. pont alexandre iii, completed in 1900, is celebrated for its elegance and serves as a link not just between the banks of the seine but between art and history, past and present.
Jean-Baptiste Camille Corot (1796-1875) - River flood (ca. 1850). In the collection of the Museu Calouste Gulbenkian, Lisbon, shown at the Museum's temporary exhibition "Art on Display 1949-1969", winter 2019-2020. The exhibition illustrated the techniques of art exhibition design proposed by various architects (Carlo Scarpa, Lina Bo Bardi, Aldo van Eyck, Alison & Peter Smithson and Franco Albini & Franca Helg) during the 1950´s and 1960´s. Some of these were influential in the design of the Calouste Gulbenkian Museum when it opened in 1969, with museography by Franco Albini. Here a Corot is displayed hanging on a transparent glass panel as proposed by Lina Bo Bardi.
Eugène Delacroix painted this monumental ensemble in the Paris Saint-Sulpice church between 1849 and 1861. The unusual theme depicts the Holy Angels, with on the ceiling Saint Michael, on the left wall the story of Heliodorus being driven from the Temple, and on the right the account of Jacob wrestling with the angel.
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Fallen Tree explores the relationship between man and nature, evoking the very concept of time. Delicately resting, suspended in horizontal, the tree turned into a bench seems to be floating between two lives, one natural, the other artificial; with in berween, the suspended
time
of creation
questioning
the
omnipotence of humans over their environment. Copy No.7
Na famosa Place du Tertre, em Montmartre, Paris, artistas de rua capturam momentos e rostos em retratos e caricaturas, mantendo viva a tradição artística do bairro. Este ponto histórico é um símbolo da efervescência cultural que caracteriza a capital francesa.
Marie Laurencin (1883-1956) - Les Biches [The Does] (1923). In the Walter-Guillaume Collection at the Musée de l'Orangerie, Paris.
The curators explain: "In1923, Marie Laurencin received a commission for the set, backdrop and costumes for the show "Les Biches" to be staged in Monte-Carlo by the Ballets Russes company. Francis Poulenc composed the score for this "one-act ballet with singing". The work was premiered on 6 January 1924 at the Monte-Carlo opera house. The Ballet was very popular and was staged at the Théâtre des Champs-Elysées during the Eighth Olympic Games [in the summer of 1924]. Marie Laurencin viewed her involvement with "Les Biches" as a form of artistic manifesto".
Musée d'Orsay is a Beaux-Arts edifice built in 1898.
It holds mainly French art dating from 1848 to 1915,.Its extensive collection of impressionist masterpieces, by such painters as Monet, Manet, Degas, Renoir, Cezanne, Seurat, Gauguin and Van Gogh, is the largest in the world.
Please don't use this image on websites,
blogs or other media without my explicit permission.
© All rights reserved
Thanks everyone, thanks for all the votes,comments, visits, support, critics, invites, awards, etc ...
Eugène Delacroix, un célèbre peintre français du XIXe siècle, chef de file du mouvement romantique en peinture. Il se trouve dans les jardins du Luxembourg à Paris. Ce monument a été réalisé par Aimé-Jules Dalou (1838–1902)
Located in the Luxembourg Gardens in Paris, this monument honors Eugène Delacroix (1798–1863), one of the leading figures of French Romantic painting. Designed by sculptor Jules Dalou (1838–1902) inaugurated in 1890
O vitral da Capela da Virgem na Igreja de Saint-Germain l'Auxerrois, em Paris, é um exemplar notável do neogótico do século XIX. Executado entre 1844 e 1847 pelos mestres Charles-Laurent Maréchal e Louis-Napoléon Gugnon, integra o programa iconográfico da capela dedicada à Virgem Maria. A composição hierárquica apresenta, na parte inferior, os reis Manassés, Ezequias e Jónatas, sentados em tronos e com filactérios. Na rosácea superior, destaca-se o busto de Judite com a sua espada, símbolo da sua bravura. Inscrições como "rosa mystica" e "radix jesse" reforçam a ligação veterotestamentária à Virgem. A obra testemunha o revivalismo da época, recuperando técnicas e estética medievais, num contexto de renovação da arte sacra francesa e de integração de ciclos bíblicos no espaço litúrgico, com fins pedagógicos e de reforço da memória visual dos fiéis.
The stained glass window of the Chapel of the Virgin in the Church of Saint-Germain l'Auxerrois in Paris is a remarkable example of 19th-century neo-Gothic art. Executed between 1844 and 1847 by the masters Charles-Laurent Maréchal and Louis-Napoléon Gugnon, it is part of the iconographic program of the chapel dedicated to the Virgin Mary. The hierarchical composition features, at the bottom, the kings Manasseh, Hezekiah and Jonathan, seated on thrones and with phylacteries. In the upper rosette, the bust of Judith with her sword, a symbol of her bravery, stands out. Inscriptions such as 'rosa mystica' and 'radix jesse' reinforce the Old Testament connection to the Virgin. The work bears witness to the revivalism of the time, recovering medieval techniques and aesthetics, in a context of renewal of French sacred art and the integration of biblical cycles into the liturgical space, for pedagogical purposes and to reinforce the visual memory of the faithful.
"Il faut se méfier des mots est une œuvre de l'artiste français Ben située à Paris, en France. Créée en 1993, l'œuvre se compose de deux travailleurs mettant en place un immense tableau noir sur lequel est inscrit « Il faut se méfier des mots »."
A escultura de Santa Teresa do Menino Jesus, realizada em 1926 pela escultora francesa Lucie Delarue-Mardrus, encontra-se na capela lateral da igreja de Saint-Germain-l'Auxerrois, em Paris. Esta obra foi criada logo após a canonização de Teresa de Lisieux em 1925, refletindo a devoção à sua "pequena via". A escultura dialoga com o vitral gótico que a sobrepõe, o qual ilustra a genealogia de Jessé, David e Salomão, estabelecendo uma ligação teológica entre o Antigo e o Novo Testamento. Esta relação destaca a santidade cristã contemporânea e a tradição bíblica da humildade, que valoriza os pequenos. Delarue-Mardrus, além de escultora, foi escritora e buscou atualizar a iconografia de Santa Teresa, conferindo-lhe uma expressão de força e autenticidade, conforme os ideais espirituais do século XX.
The sculpture of Saint Thérèse of the Child Jesus, created in 1926 by French sculptor Lucie Delarue-Mardrus, is located in the side chapel of the Church of Saint-Germain-l'Auxerrois in Paris. This work was created shortly after the canonization of Thérèse of Lisieux in 1925, reflecting devotion to her “little way.” The sculpture dialogues with the Gothic stained glass window above it, which illustrates the genealogy of Jesse, David, and Solomon, establishing a theological connection between the Old and New Testaments. This relationship highlights contemporary Christian holiness and the biblical tradition of humility, which values the little ones. Delarue-Mardrus, in addition to being a sculptor, was a writer and sought to update the iconography of Saint Teresa, giving her an expression of strength and authenticity, in accordance with the spiritual ideals of the 20th century.
Daniel Buren (b. 1938) - Cabane éclatée no. 9 [Burst hut no. 9] (1985). In the collection of the Moderna Museet, Stockholm.
Thorvald Hellesen (1888-1937) - Dance (1921). In the collection of Chisten Sveaas Kunststiftelse [Christen Sveaas Art Foundation], shown at the temporary exhibition "Thorvald Hellesen. Pioneering Cubism" at Nasjonalmuseet, Oslo, March-August 2023.
French Art / Magazin-Reihe
parisienne models in many new poses for the art student
Cover: ?
Graphic Arts Corporation / USA est. 1935
Reprint / Comic-Club NK 2010
ex libris MTP
Fernand Léger (1881-1955) - Le Campeur [The Camper] (ca. 1954). In the collection of the Musée National Fernand Léger, Biot (Alpes Maritimes). Shown at the temporary exhibition "Tous Léger" at the Musée du Luxembourg, Paris, March-July 2025.
The curators commented: "In homage to the social achievements of the Popular Front, revived at the Liberation, Léger presents a modern vision of the traditional subject of the rural scene - here broken by metal constructions and the contrast of the characters - and celebrates the theme of leisure."
Paul Cézanne 19 January 1839 – 22 October 1906 was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.
Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all."
The Montagne Sainte-Victoire, with its cragged broken top, stands east of Cézanne’s home town, Aix-en-Provence. Cézanne painted the mountain on many occasions throughout his career. For him it came to symbolise his home, and the landscapes of his native Provence.
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Musée d'Orsay, Paris, France
Musée d'Orsay is a museum in Paris, France, on the left bank of the Seine www.musee-orsay.fr/en/home.html . It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. It houses the largest collection of impressionist and post-Impressionist masterpieces in the world, by painters including Monet, Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin and Van Gogh. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986. It is one of the largest art museums in Europe. The museum building was originally a railway station, Gare d'Orsay, constructed for the Chemin de Fer de Paris à Orléans and finished in time for the 1900 Exposition Universelle to the design of three architects: Lucien Magne, Émile Bénard and Victor Laloux. It was the terminus for the railways of southwestern France until 1939. By 1939 the station's short platforms had become unsuitable for the longer trains that had come to be used for mainline services. After 1939 it was used for suburban services and part of it became a mailing centre during World War II. It was then used as a set for several films, such as Kafka's The Trial adapted by Orson Welles, and as a haven for the Renaud–Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt. In 1970, permission was granted to demolish the station but Jacques Duhamel, Minister for Cultural Affairs, ruled against plans to build a new hotel in its stead. The station was put on the supplementary list of Historic Monuments and finally listed in 1978. The suggestion to turn the station into a museum came from the Directorate of the Museums of France. The idea was to build a museum that would bridge the gap between the Louvre and the National Museum of Modern Art at the Georges Pompidou Centre. The plan was accepted by Georges Pompidou and a study was commissioned in 1974. In 1978, a competition was organized to design the new museum. ACT Architecture, a team of three young architects (Pierre Colboc, Renaud Bardon and Jean-Paul Philippon), were awarded the contract which involved creating 20,000 sq. m. of new floorspace on four floors. The construction work was carried out by Bouygues.[3] In 1981, the Italian architect, Gae Aulenti was chosen to design the interior including the internal arrangement, decoration, furniture and fittings of the museum. Finally in July 1986, the museum was ready to receive its exhibits. It took 6 months to install the 2000 or so paintings, 600 sculptures and other works. The museum officially opened in December 1986 by then-president, François Mitterrand.
Louis Hersent was a French painter born in Paris on March 10, 1777. One of the most distinguished pupils of Jacques-Louis David, and later becoming one of the most noted painters of the Restoration.
Active during the Restoration this painting was "Monks of Mount St Gotthard" was exhibited in the Salon 1824.
Saint-Paul Asylum, Saint-Rémy is the place where Vincent van Gogh did many of his paintings when he was a self-admitted patient from May 1889 until May 1890. During much of his stay there he was confined to the grounds of the asylum, and he made paintings of the garden, the enclosed wheat field that he could see outside his room and a few portraits of individuals at the asylum. During his stay at Saint-Paul asylum, Van Gogh experienced periods of illness when he could not paint. When he was able to resume, painting provided solace and meaning for him. Nature seemed especially meaningful to him, trees, the landscape, even caterpillars as representative of the opportunity for transformation and budding flowers symbolizing the cycle of life. Works of the interior of the hospital convey the isolation and sadness that he felt.
Mentioned on several occasions by Nostradamus, who was born nearby and knew it a Franciscan convent, the building was originally an Augustinian priory dating from the 12th century, and has a particularly beautiful cloister.
Daniel Buren (b. 1938) - Cabane éclatée no. 9 [Burst hut no. 9] (1985). In the collection of the Moderna Museet, Stockholm.
Gustave Caillebotte (1848-1894) - Homme au balcon [Man on the balcony] (ca. 1880). Private collection. Shown at the temporary exhibition "Cailebotte Painting Men" at the Musée d'Orsay, Paris, October 2024-January 2025.
Thorvald Hellesen (1888-1937) - Les deux amis (1920). In the Canica Kunstsamling [Canica Art Collection], shown at the temporary exhibition "Thorvald Hellesen. Pioneering Cubism" at Nasjonalmuseet, Oslo, March-August 2023.
Claude Monet (1840-1926) - Windmill and boats near Zaandam, Holland (1872). In the collection of the Ny Carlsberg Glyptotek, Copenhagen.
Jacques Adnet (1900-1984) - Poodle (1920s). Faience manufactured by Montreau, Paris. In the collection of the Berardo Museu Art Deco, Lisbon.
Peinture abstraite géométrique minimaliste, acrylique châssis entoilé, dimensions 60x60cm, finition vernie mat.
Paul Signac (1863-1935) L'écluse a Samois [The lock at Siamois] (1902). In the collection of Ny Carlsberg Glyptotek, Copenhagen.
Saint-Paul Asylum, Saint-Rémy is the place where Vincent van Gogh did many of his paintings when he was a self-admitted patient from May 1889 until May 1890. During much of his stay there he was confined to the grounds of the asylum, and he made paintings of the garden, the enclosed wheat field that he could see outside his room and a few portraits of individuals at the asylum. During his stay at Saint-Paul asylum, Van Gogh experienced periods of illness when he could not paint. When he was able to resume, painting provided solace and meaning for him. Nature seemed especially meaningful to him, trees, the landscape, even caterpillars as representative of the opportunity for transformation and budding flowers symbolizing the cycle of life. Works of the interior of the hospital convey the isolation and sadness that he felt.
Fernand Léger (1881-1955) - Untited (Nadia) (1953). Gouache and Indian ink on paper. Private collection. Shown at the temporary exhibition "Nadia Léger. Une femme d'avant-garde" at the Musée Maillol, Paris, November 2024-March 2025.
Original work by Jules Breton
Jules Breton, The Wounded Sea Gull, 1878 frenchart.umsl.edu/home/english/nineteenth-century/jules-...
André Lhote (1885-1962) - The Bordeaux Harbour (undated). In the collection of KODE, Art Museums of Bergen, Norway.
Nicolas Ionesco (1909-2008) - Le Manège [The carousel] (1949). Private collection.Shown at the temporary exhibition "Une femme d'avant-garde" at the Musée Maillol, Paris, November 2024-March 2025.
Fernand Léger had a tremendous influence on avant-garde painting, principally through his teaching at the Académie Moderne, which he founded with Amédée Ozenfant in 1924. His wife, Nadia Léger, whose work was at times very much in Léger's style, also taught there until 1955. The curators of the exhibition "Fernand Léger. Le beau est partout" (2017) at the Centre Pompidou in Metz compiled a non-exhaustive list of about 350 artists who had attended one of Léger's teaching locations in Paris, namely the Académie Moderne, the Académie de la Grande Chaumière, the Académie de l'Art Contemporain or his own Atelier de Fernand Léger. Nicolas Ionesco studied at the Académie Moderne in 1948-1949 and this painting shows Léger's strong influence. However, Ionesco would soon become an abstract impressionist, a style very much at the opposite of Léger's practice.