Fernand Léger
Marmolada bids you good morning from the large glass walls, warm sunlight shining on the works by the eclectic artist Fernand Léger. His vivid colours are mirrored in the bubbling water of the whirlpool bath the best way to let off some steam after an invigorating sauna. The fireplace provides the living area with the perfect light for a delicious in-room dinner, the ideal prelude to a sleep filled with wondrous dreams of beauty.
- Infrared pine sauna
- Freestanding whirlpool bathtub
- Steam-effect electric fireplace
- Private balcony with stunning view of the Marmolada
- High-quality mattresses
- Bathroom with double sink in dolomite stone and spacious walk-in shower
- Minibar and safe
- Multilingual Smart TV
- Wooden flooring
- Personalized HERNO pillows
- Selection of fresh fruit upon arrival
- Pillow menu with a variety of pillows to choose from
- Soft blanket
- Premium courtesy line with natural high-end products
- Kettle with a selection of herbal teas, tea, and coffee
- Comfortable bathrobes, towels, sauna towels, and slippers
- High-speed fiber-optic Wi-Fi connection
- Housekeeping service - twice-daily
- Comfortable shoehorn with brush
- Umbrella
- Mattress topper
- Choice of duvet and full bed setup
- Fabric laundry bag
- Two Montura merino wool blankets
- In-room temperature control
Fernand Léger
Born in Lower Normandy, he studied architecture before moving to Paris in 1900, supporting himself working as a technical designer. After his military service he tried to enter, but without success, the Academy of Fine Arts; then he enrolled in the School of Figurative Arts.
Before starting to work seriously as a painter at the age of 25, he attended the Academy as a private practitioner for 3 years defining this time as “empty and useless years”. At the time his works were influenced by Impressionism, for example the painting Il Giardino di Mia Madre, it is one of the rare ones from that period which he did not destroy.
His following works, especially drawings, put the emphasis on geometric shapes, for example the painting Nudi Nella Foresta, demonstrating a personal form of cubism, later defined by the critics Tubismo due to the frequent use of circular shapes. Gradually the works take on more and more abstract forms through the use of colors in addition to white, black and green.
Legèr work was influenced by his personal experience during the great war, throughout he made numerous sketches of armaments, airplanes, fellow soldiers in the trenches; of this period Soldato con una Pipa e I Giocatori di Carte.
After the First World War the “return to order” , felt in the arts too, led Legér to paint figures and animals harmoniously inserted in the landscape, inspired by the works of Rousseau who he had known in 1909. These works also refer to Purism, the rational style founded by Le Corbusier and Ozenfant, which makes adjustments to Cubist impulsiveness; representative of this style Il Sifone of 1924, a still life inspired by a Campari advertisement.
Attracted by the cinema, Legér devoted himself to this art, taking into consideration the abandonment of painting; in 1924 he produced and directed the iconic and futuristic Balletto Meccanico.
Later in 1925, influenced by the theories of Le Corbusier, he created the first of his “murals”, abstract zones of flat colors that seem to recede or advance.
In the early 1930s, organic and irregular shapes take on more and more importance in Legér work, as in The Two Sisters of 1935 and in the various versions of Adamo e Eva.
During the Second World War Legér lived in the United States, teaching at Yale and painting works inspired by the superimposition of natural and mechanical elements (The Tree in the Ladder, Romantic Landscape, Three Musicians).
After his American stay, he came back to France in 1945, joined the Communist Party and partly stopped abstraction, painting figures of divers, bricklayers, acrobats and outings to the countryside. In the years before his death he taught in Bern, designed mosaics, glass windows and painted the series The Great Parade.
He died at his home in 1955.
“Abstract art appeared as a complete revelation, so we were able to consider that human figure’s value is no longer sentimental, but plastic.”
Fernand Léger
Born in Lower Normandy, he studied architecture before moving to Paris in 1900, supporting himself working as a technical designer. After his military service he tried to enter, but without success, the Academy of Fine Arts; then he enrolled in the School of Figurative Arts.
Before starting to work seriously as a painter at the age of 25, he attended the Academy as a private practitioner for 3 years defining this time as “empty and useless years”. At the time his works were influenced by Impressionism, for example the painting Il Giardino di Mia Madre, it is one of the rare ones from that period which he did not destroy.
His following works, especially drawings, put the emphasis on geometric shapes, for example the painting Nudi Nella Foresta, demonstrating a personal form of cubism, later defined by the critics Tubismo due to the frequent use of circular shapes. Gradually the works take on more and more abstract forms through the use of colors in addition to white, black and green.
Legèr work was influenced by his personal experience during the great war, throughout he made numerous sketches of armaments, airplanes, fellow soldiers in the trenches; of this period Soldato con una Pipa e I Giocatori di Carte.
After the First World War the “return to order” , felt in the arts too, led Legér to paint figures and animals harmoniously inserted in the landscape, inspired by the works of Rousseau who he had known in 1909. These works also refer to Purism, the rational style founded by Le Corbusier and Ozenfant, which makes adjustments to Cubist impulsiveness; representative of this style Il Sifone of 1924, a still life inspired by a Campari advertisement.
Attracted by the cinema, Legér devoted himself to this art, taking into consideration the abandonment of painting; in 1924 he produced and directed the iconic and futuristic Balletto Meccanico.
Later in 1925, influenced by the theories of Le Corbusier, he created the first of his “murals”, abstract zones of flat colors that seem to recede or advance.
In the early 1930s, organic and irregular shapes take on more and more importance in Legér work, as in The Two Sisters of 1935 and in the various versions of Adamo e Eva.
During the Second World War Legér lived in the United States, teaching at Yale and painting works inspired by the superimposition of natural and mechanical elements (The Tree in the Ladder, Romantic Landscape, Three Musicians).
After his American stay, he came back to France in 1945, joined the Communist Party and partly stopped abstraction, painting figures of divers, bricklayers, acrobats and outings to the countryside. In the years before his death he taught in Bern, designed mosaics, glass windows and painted the series The Great Parade.
He died at his home in 1955.
“Abstract art appeared as a complete revelation, so we were able to consider that human figure’s value is no longer sentimental, but plastic.”
