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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

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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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.

The artist

Born in Le Mans, Roger De La Fresnaye (1885 - 1925) studied at the Julian academy, then at the Ranson academy. He became a student of the Nabi Maurice Denis, whose artistic influence was evident in his early paintings. A trip to Northern Italy in 1911 contributed to the evolution of his painting towards cubism. He was part of the Section d'Or group, or Puteaux group, alongside Marcel Duchamp and Metzinger. He participated in the decoration of the Cubist House and, from 1910, exhibited his works several times at the Salon d'Automne and the Salon des Indépendants. La Fresnaye continued his artistic research on cubism and abstraction until the First World War, which radically weakened his health. His pictorial orientation then changed, moving away from cubism to approach surrealism.
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