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The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye
The Fourteenth of July -  Roger de La Fresnaye

The Fourteenth of July - Roger de La Fresnaye

The Fourteenth of July offers an emblematic example of La Fresnaye's idiosyncratic Cubist experimentation and is indicative of a decisive transition in the artist's career. His sensitivity to color is resolutely concrete in the present work, where the construction is based on a series of geometric shapes colored in primary colors, black or white. Proudly displaying the colors of the tricolor flag in the upper left-hand corner, La Fresnaye gives this work an obvious patriotic dimension at the time of its execution at the dawn of the First World War.

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The artwork in a nutshell

The Fourteenth of July offers an emblematic example of La Fresnaye's idiosyncratic Cubist experimentation and is indicative of a decisive transition in the artist's career. His sensitivity to color is resolutely concrete in the present work, where the construction is based on a series of geometric shapes colored in primary colors, black or white. Proudly displaying the colors of the tricolor flag in the upper left-hand corner, La Fresnaye gives this work an obvious patriotic dimension at the time of its execution at the dawn of the First World War.

The artist

Né au Mans, Roger De La Fresnaye (1885 – 1925) suit des cours à l'académie Julian, puis à l'académie Ranson. Il devient l'élève du nabi Maurice Denis, dont l'influence artistique sera évidente sur ses premiers tableaux. Un voyage en Italie du Nord, en 1911, contribuera à faire évoluer sa peinture vers le cubisme. Il fera d'ailleurs partie du groupe de la Section d'Or, ou groupe de Puteaux, aux côtés de Marcel Duchamp et de Metzinger. Il participera à la décoration de la Maison Cubiste et, à partir de 1910, exposera ses œuvres plusieurs fois au Salon d'Automne et au Salon des Indépendants. La Fresnaye poursuivra ses recherches artistiques sur le cubisme et sur l'abstraction jusqu'à la Première Guerre Mondiale, qui fragilise sa santé de façon radicale. Son orientation picturale se modifie alors, s'éloignant du cubisme pour s'approcher du surréalisme.  

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