“Exit the Ballets Russes” by Fernand Leger
“Taillade” by Joan Mitchell
Modern and contemporary art has taken shape through the 20th century. The constraints placed on paintings – such as the necessity for them to be of a scene, landscape, person or circumstance – were erased as a new, modern era of expression entered the artistic world. From this freedom came a form of applying emotions and feelings onto a canvas without distinct explanation or illustration. This led to the emergence of an array of works which have no limitations or boundaries; although different and diverse, these modern pieces have this free theology as their foundation. Fernand Leger’s “Exit the Ballets Russes” and Joan Mitchell’s “Taillade” depict this period with their vastly different works.
At first glance, the form of “Exit the Ballets Russes” is far more structured and defined in comparison to “Taillade.” The structure comes from the black outlining, and the clear distinction between colors. Because of this form, Leger’s piece would be categorized as Cubism. Whereas in “Taillade” there is no obvious structure, as the colors flow into one another, allowing the colors to overlap one another and join together. The structure of Leger’s piece portrays a mechanical and industrial feel to the work. The machines/objects make the painting look 3D, while looking at the actual paint, there appears to be little texture. “Taillade” lacks definite structure, giving a sense of uncertainty, with the interpretation left solely to the viewer. Even though the painting does not give a 3D effect, the actual paint on the canvas is textural, giving a literal feel to the painting.
The light and negative space used on each canvas is interesting, and either contains or frees the work. Mitchell’s “Taillade” has a more inconspicuous use of negative space, as it is uncertain as to what is canvas or the actual painting. This unperceivable aspect makes the beginning and end of the painting hard to define. It gives the impression that the painting could continue indefinitely. The two panels of which the painting are made up of, continues to establish this concept, as the idea that another can easily be added, seems to make sense. Leger’s “Exit the Ballets Russes” is different in the fact that the negative space is both discernable and intentional. This, along with the clear structure of the work makes the beginning and end of the work to be evident.
The colors of each painting are contrasting. “Exit the Ballets Russes” is composed of mainly primary colors; a prominence of blue, red and yellow. From those colors come the easily definable light green, brick red and black. The colors are clear, divided and specific. This leaves the viewer with an organized pattern, reinstating the distinguished structure. On the other hand the colors used in “Taillade” sweep across the color wheel, with no plainly pronounced colors, but there is rather an interaction between the colors taking place. They are overlapping and flowing into one another. This use of many colors, and their uncertainty rehashes the freedom of the painting, with the interpretation left up to each individual viewer.
The form, light and color used within Modern era paintings are all different. Each artist is left with complete freedom. There are no rules or expectations to be followed, but the canvas is full of endless opportunities. The artists can go in any direction they so desire. Modern Art truly defines the liberty in art through its no boundaries or constraints. Its work is a broad spectrum which has no beginning or end, no limits or rules; but rather the license to do whatever one wants.
