Roger de la fresnaye biography of williams
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Title:Head of a Man
Artist:Roger de la Fresnaye (French, Le Mans 1885–1925 Grasse)
Date:1925
Culture:French
Medium:Graphite on brown paper mounted on paper
Dimensions:8 3/4 × 6 7/16 in. (22.2 × 16.4 cm)
Classification:Drawings
Credit Line:Bequest of William S. Lieberman, 2005
Object Number:2007.49.673
Inscription: Signed and dated (lower right, in graphite): Lafresnaye / 8/25 Lafresnaye
William S. Lieberman, New York (until d. 2005; his bequest to MMA)
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Roger de La Fresnaye (1885-1925)
Roger de la Fresnaye was a French Cubist painter, born into a family of aristocracy. He had a classical education and attended the Academie Julien in 1904 and the Ecole des Beaux-Arts in 1908. La Fresnaye also studied beneath Maurice Denis and Paul Serusier at the Academie Ranson. Their influence on La Fresnaye helped him to develop a Symbolist style.
By 1912, La Fresnay had become involved with the Section d’Or, which was a group of young up and coming artists that worked in Cubism. He would also become a member of the Puteaux Group, which also focused on Cubist theories. During this time, La Fresnaye was most influenced bygd Picasso and Georges Braque; however, his paintings were more realistic than theirs.
Although his work has been compared to that of Delaunay, La Fresnaye painted in a more decorative style. He used colors to create a prismatic effect in the same way as Delau
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Roger de La Fresnaye, “The Conquest of the Air” (1913)
Clouds that are spheres: Roger de La Fresnaye, "The Conquest of the Air" (1913)
In his influential book “The Fractal Geometry of Nature” (1982) Benoit Mandelbrot (1924 -2010) argued that “clouds are not spheres, mountains are not cones, coastlines are not circles and bark is not smooth” pointing out the fact that real objects are quite unlike pure, Euclidean geometrical objects. Geometry appears cold and dry, he notes, because of “its inability to describe the shape of a cloud, a mountain, a coastline, a tree”. In “The Conquest of the Air”, Roger de La Fresnaye presents a geometric world where Mandelbrot’s “amorphous” is absent, clouds are indeed spheres and all objects are formed by elementary, Euclidean solids. De La Fresnaye’s mathematical influence can be traced in his 1912 – 1914 participation in the “Section d’ Or” or “Puteaux group”, a collective of artists that displayed strong belief in the significan