Charles edouard jeanneret4/12/2023 The composition of Nature morte à l'accordéon is based around the central carafe and strongly recalls the right hand side of another composition from 1926, Le dé violet (Jornod 49). Towards the end of 1926 and the beginning of 1927, separated from Ozenfant, Le Corbusier's art took a more representational turn, and he began to depict objects in his compositions in a more direct, often more figurative manner, marking the beginning of the period often referred to as that of the 'objets à réaction poétique'. Thus objects are represented in a purely conceptual manner, tending towards abstraction and nearing a pure compositional synthesis of elements, always based on an underlying framework of squares, symmetry and the golden section. The two artists established the journal L'Esprit Nouveau in 1920, in which they advocated the use of modern industrial techniques to transform the standard of urban living, an idea that developed the rallying cry "Architecture or Revolution!" It was in this journal that Charles-Edouard Jeanneret first adopted the pseudonym Le Corbusier (adapted from his maternal grandfather's name, Lecorbésier), but it was not until 1928 that he began to sign his paintings as such.Įchoing Le Corbusier's basic architectural principles, both he and Ozenfant advocated a modernisation and mechanisation of art, in which form is subject to proportional and ideal systems. Le Corbusier's and Ozenfant's purism was a direct reaction against cubism, which they saw as too irrational and romantic, and against the development of decorative elements within its once pure language. The year 1926 marked the highpoint of Le Corbusier's late purist style, a movement he had developed in tandem with the painter Amedée Ozenfant, whom he had first met when he moved to Paris in 1916 at the age of 29. Painted in 1926, Nature morte à l'accordéon dates from Le Corbusier's final purist phase, arguably his most successful artistic era, in which his most revolutionary architectural principles came together with his artistic vision to produce a coherent aesthetic of synthetic purism and architectural modernism.
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