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Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye
Seated man - Roger de La Fresnaye

Seated man - Roger de La Fresnaye

Excellent 130+ avis vérifiés

Considered a self-portrait, "Seated Man" is an important stage in La Fresnaye's production before the war. The left part of the painting, the geometric still life, is the subject of another painting, entitled "Still Life with a Square". The other part of the painting is devoted to a character with an undefined face, according to the cubist norm, occupying the entire height of the canvas, in a frontal position and in an environment where curves and rectangular shapes intersect, delimited by flat areas of primary colors that cut the background. This composition, dominated by a search for harmony, is skilfully structured by the color, and illuminated by the unfinished parts.

Select a size 53 x 69 cm
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The artwork in a nutshell

Considered a self-portrait, "Seated Man" is an important stage in La Fresnaye's production before the war. The left part of the painting, the geometric still life, is the subject of another painting, entitled "Still Life with a Square". The other part of the painting is devoted to a character with an undefined face, according to the cubist norm, occupying the entire height of the canvas, in a frontal position and in an environment where curves and rectangular shapes intersect, delimited by flat areas of primary colors that cut the background. This composition, dominated by a search for harmony, is skilfully structured by the color, and illuminated by the unfinished parts.

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