In the late 1930s, Léger spent the majority of his time working on large-scale international design projects, usually featuring murals. The paintings that emerged from this period often incorporated the crisp imagery that he devised for these purposes. In 1937, he won several major commissions, including stage sets for the Paris Opera and decorations for the Trade Union Congress at Vélodrome d'Hiver and Le Transport des Forces for the Palais de la Découverte at the International Exhibition of Arts and Techniques. After finishing these major pieces in 1928, he was commissioned to produce murals for Nelson Rockefeller’s New York penthouse, including pieces for the stairwell and fireplaces in the property. The influence of these monumental interior decor projects can be seen in the composition and subjects of his smaller works from this period, such as the work featured in our auction “L’Etoile de mer” (The Starfish).

Léger often drew inspiration from nature, taking butterflies, flowers and aquatic plans for his subjects. In “L'Étoile de mer”, the dominant forms are painted with strong, unmixed paint in red, blue and yellow, in some places bordered by sharp, black contours against a green and grey background. Rather than simply depicting nature, Léger was interested in exploring the language of colour in its most extreme and purest form by reducing its vocabulary simply to colour and shape. Léger regularly painted still-lives, a medium with traditions stretching far back into art history, however he distanced himself from the traditional way of depicting objects. Instead, in his compositions, he added new, highly personal dimensions and expressions to a classic subject.

Léger wanted his art to be modern but also accessible, without any hidden message. “L'Étoile de mer” has the very strength and immediacy he sought. He felt that art should not be something that one has to struggle to understand; it should be a restorative force after the various trials of the day. Léger said that his paintings should foster a sense of calm in the viewer, who was thus given an opportunity to develop the sensitivity and capacity to admire a work of art in a positive way without needing to ask negative questions such as “what does it represent?” and “what does it mean?”.