Le Corbusier – the graphic work Le Corbusier – Das ... · Le Corbusier put together a selection of drawings and paintings which he allowed me to show in my interior design gallery

Le Corbusier – the graphic work

First Edition 1988Second expanded edition 2004Third edition 2009

Editor Heidi Weber, Zurich / Montreal

Le Corbusier – Das grafische Werk

Erste Auflage 1988Zweite erweiterte Auflage 2004Dritte Auflage 2009

Herausgeberin Heidi Weber, Zürich / Montreal

DAS GRAFISCHE WERK

Le Corbusierthegraphicwork

Preface Vorwort

Introduction Einführung

Copper Etchings Kupferstiche

Rhodoid Engravings Rhodoid-Gravures

Lithographs Lithografien

Appendix Anhang

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«Je connais Madame Heidi Weber depuis plusieurs années;les renseignements que j’ai eus sur elle confirment l’excel-lente impression que j’ai de son honorabilité, son honnêtetéet de son dévouement à l’Œuvre de Le Corbusier. Chaque fois que nous en avons parlé avec le Maître, il m’a confirmé sa satisfaction de ses relations avec elle et de sa netteté dans les affaires. Je puis donc affirmer que le désir de Le Corbusier était de voir dorénavant toutes les affaires concernant ses œuvres graphiques, traitées par Madame Heidi Weber»

Fernand Mourlot Paris, March 1966

Fernand Mourlot and Heidi WeberParis 1962

Heidi Weber and Le CorbusierZurich 1960

I have known Ms Heidi Weberfor several years; the informationI received about her confirm theexcellent impression I have con-cerning her sincerity, her honestyand her dedication to the workof Le Corbusier.

MOURLOTimprimeurs

Maison fondée en 1852

9

Heidi Weberon her collaboration with Le Corbusier

In 1958 the fine arts museum of Zurich showed thetouring exhibition «Le Corbusier – architecture, paint-ing, sculpture, tapestries». However, it was not hisarchitectural work that attracted my attention butrather his paintings which so deeply and emotionallyappealed to me.

My first personal encounter with Le Corbusierturned out quite opposite from my expectations.Acquaintances had described him to me as closed anddistant almost to the point of arrogance; the man andartist whom I met in the middle of August 1958 in hissmall hut on Cap Martin was friendly, attentive, openand amiable. From the very first instant I had a feelingof trust. I remained at Cap Martin for three days and heinvited me daily for meals. For hours we exchangedthoughts and ideas, and I told him about my enthusiasmfor his painting. Before my departure, he presented mewith a trial impression of the «cheerfulness» from thecopperplate series «five women» (page 29). I left CapMartin as if on wings, in the knowledge that this meet-ing would give my life a decisive direction.

Through my work as decorator with an interiordesign gallery in Zurich, I came across pictures of seat-ing furniture which had been designed by Le Corbusieras early as 1927. With the idea of asking him for permis-sion to produce this furniture in series, I visited him inthe south of France. My enthusiasm and determinationto produce this furniture seemed to convince him.Already two weeks later in Paris he gave me the designsfor the furniture, which I subsequently produced over aperiod of ten years. During the same stay in Paris,Le Corbusier put together a selection of drawings andpaintings which he allowed me to show in my interiordesign gallery in Zurich, thereby exceeding all my hopesand expectations.This was the beginning of a quicksuccession of exhibitions and an intensive and fruitfulteamwork with the artist which lasted until he died inCap Martin in August of 1965.

Until then, that is to say until about his 70th year,Le Corbusier was almost unknown as a painter and,something that I could not understand, unappreciated.For this reason the wish grew in me to secure for hisartistic work the recognition that was his due, and torender for as many people as possible from all levels of

Heidi Weberüber ihre Zusammenarbeit mit Le Corbusier

1958 zeigte das Kunsthaus Zürich die Wanderausstel-lung «Le Corbusier – Architektur, Malerei, Plastik,Wand-teppiche». Es waren aber nicht seine architektonischenArbeiten, die meine Aufmerksamkeit erregten, sondernseine Bilder, von denen ich mich tief bewegt und emotio-nal erfasst fühlte.

Die erste persönliche Begegnung mit Le Corbusierverlief ganz entgegen meinen Erwartungen. Bekanntehatten ihn mir als verschlossen und abweisend bis zurArroganz geschildert; der Mensch und Künstler, den ichMitte August 1958 in seinem Cabanon auf Cap Martinkennenlernte, war zugänglich und aufmerksam, offenund liebenswürdig.Vom ersten Augenblick an stellte sichein Gefühl von Vertrautheit ein. Ich blieb drei Tage in CapMartin, und jeden Tag lud er mich zum Essen ein. In stun-denlangen Gesprächen tauschten wir Gedanken undIdeen aus, und ich bekundete ihm meine Begeisterungfür seine Malerei.Vor meiner Abreise machte er mir einenProbeabzug der «cheerfulness» aus der Kupferstichserie«five women» (S. 29) zum Geschenk. Ich verliess CapMartin wie auf Flügeln, im Bewusstsein, dass dieseBegegnung meinem Leben eine entscheidende Richtunggeben würde.

Durch meine Arbeit als Innenarchitektin in meinemStudio für Raumgestaltung in Zürich war ich auf Abbil-dungen der von Le Corbusier 1927 entworfenen Sitz-möbel gestossen. In der Absicht, ihn um die Erlaubnis zubitten, diese Möbel in Serie produzieren zu dürfen, hatteich ihn in Südfrankreich besucht. Meine Begeisterungund meine Entschlossenheit, die Möbel zu produzieren,schienen ihn überzeugt zu haben. Schon etwa zweiWochen später übergab er mir die Pläne für die Möbel,die ich in der Folge während zehn Jahren produzierte.Noch während des gleichen Aufenthalts in Paris stellte Le Corbusier eine Auswahl von Zeichnungen und Ölbil-dern zusammen, die er mir für eine Ausstellung in meinerWohngalerie in Zürich anvertraute, und übertraf damit allemeine Erwartungen und Hoffnungen. Dies war der Beginneiner dichten Folge von Ausstellungen und einer inten-siven und fruchtbaren Zusammenarbeit mit dem Künstler,bis er im August 1965 vor Cap Martin den Tod fand.

Bis zu dieser Zeit, das heisst bis etwa zum siebzigstenAltersjahr Le Corbusiers, war er als Maler mehrheitlichunbekannt, und was mir unbegreiflich blieb, auch gänz-

10

society an encounter with, and explanation of, hisworks. In spite of all the difficulties, I was able in twodifferent ways to realize this desire in a relatively shorttime. One way was with the exhibition pavilion inZurich, his last building, which I was able to realize andinaugurate in 1967 and in which, through the unity ofarchitecture and art, one can get the feeling of his com-plete work (page 109).The other way, almost at thesame time, was with the printing of the graphic workspictured in this book. With this graphic edition it shouldalso be possible for young friends of Le Corbusier, whocould not afford any of his oil paintings, to own one ofhis works.

Already in 1950 a few lithographs had been printedby the renowned lithographer Fernand Mourlot in Paris,but they could only be sold with great difficulty. For thisreason Le Corbusier was rather doubtful about my pro-posal to execute a new edition of engravings. But after I was able to convince him that the initial failure hadbeen due to bad distribution, he introduced me to FernandMoulot with the words: «She is a serious girl, she willmake you work.» The biggest part of the graphic worksresulted after that in quick succession.

The working methods of Le Corbusier fascinated metime after time. Some of his lithographs were originallycreated in black and white. When I saw them I remarkedthat for me something seemed to be missing. He thoughtit over for a moment and then agreed with me: «Yes,I would like to use some colour. » He then walked away,and I asked myself how he would do it. He came backwith a few pieces of coloured paper and tore them intodifferent sizes. After having checked the linear drawing,he slid the scrap of paper around with his thumb overthe composition until it found its place – with certaintyand as if on its own.

His gift, the copperplate «cheerfulness», which I hadtaken into my heart, led me to beg Le Corbusier toengrave a new copperplate edition. During one of myvisits I handed him some copperplates: «I know thatyou were an engraver in the watch industry. I want tomake you work, Monsieur.» At first he was surprised,then he smiled: «Yes, that will give me great pleasure,to engrave these plates for you.» From his hands origi-nated the magnificent large engravings of the series of

lich verkannt. So wuchs der Wunsch in mir, dem künstle-rischen Werk Le Corbusiers die Anerkennung zu verschaf-fen, die ihm gebührte und möglichst vielen Menschenaus allen Kreisen der Gesellschaft eine Begegnung undAuseinandersetzung mit seinen Werken zu ermöglichen.Auf zwei verschiedenen Wegen konnte ich dieses Anliegentrotz allen Schwierigkeiten in verhältnismässig kurzerZeit verwirklichen: Der eine war der Ausstellungspavillonin Zürich, sein letztes Bauwerk, den ich 1967 eröffnenkonnte, und in dem durch die Einheit von Architektur undKunst das Schaffen Le Corbusiers als Gesamtwerk erleb-bar wird (S. 109); der andere, fast gleichzeitig, war derVerlag der in diesem Buch abgebildeten Blätter. Mit die-ser Grafikedition soll es auch jungen Le Corbusier-Freun-den, die sich keine Ölbilder leisten können, ermöglichtwerden, ein Werk zu erstehen.

Schon um 1950 waren beim renommierten LithografenFernand Mourlot in Paris einige wenige Blätter vonLe Corbusier gedruckt worden, die sich aber nur schwerhatten verkaufen lassen. Deshalb reagierte er eher zwei-felnd auf meinen Vorschlag, eine Edition neuer Blätter zurealisieren. Nachdem ich ihn aber davon überzeugenkonnte, dass der anfängliche Misserfolg nur auf denschlechten Vertrieb zurückzuführen war, stellte er michFernand Mourlot mit den Worten vor: «Sie ist ein seriösesMädchen, sie wird Sie arbeiten lassen» In kurzer Folgeentstand darauf der grösste Teil des grafischen Werkes.

Meine Beobachtungen von Le Corbusiers Arbeits-weise hatten mich immer wieder fasziniert. Einige derLithografien hatte er zu Beginn schwarz-weiss gestaltet.Als ich die Vorlagen sah, äusserte ich gewisse Bedenken,dass mir etwas fehle. Er überlegte kurz und gab mir recht:«Ja, ich würde gerne Farbe setzen.» Darauf entfernte ersich, und ich fragte mich, wie er das nun angehen würde.Mit einigen farbigen Papierbogen kam er zurück und risssie in verschiedene grosse Stückchen. Nachdem er dielineare Zeichnung geprüft hatte, schob er das Fetzchenmit dem Daumen über die Komposition, bis es –bestimmt und sicher wie von selbst – seinen Platz fand.

Der Kupferstich «cheerfulness», sein Geschenk, dasich ins Herz geschlossen hatte, brachte mich auf den Gedanken, Le Corbusier zu bitten, Platten für eine neueKupferstichedition zu gravieren. Ich brachte ihm beieinem meiner Besuche Kupferplatten ins Atelier mit.

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the various «Taurus», «birth of minotaurus» and «Sea»(page 33-37)

During different conversations with Le Corbusier heexpressed the expectation and the wish that I – in caseanything happened to him – should carry on making hisworks known. Because of this desire he made over tome in a 30-year contract the exclusive rights to repro-duction and sale of his complete artistic work. Soonafter his sudden death I busied myself with this task.Only with great difficulty were his paintings salable.The critics, the collectors and the museum directorsstill only wanted to see in Le Corbusier the architect.But I did not tire in my efforts, and gained from hisworks and the remembrance of his personality thestrength to fight always anew against the old obstacles.I often remembered the text of the little lithographicwork «Don Quixote» (page 59): «Every day one mustfight against windmills, conquer Troy, and be the horsebefore the cart.»

Since my first encounter with Le Corbusier at CapMartin my efforts have been bearing fruit.Today I havethe possibility of making his work well-known in variousways: in the exhibition pavilion in Zurich, the HeidiWeber Museum, which Le Corbusier especially designedfor exhibiting his works, there is the possibility ofshowing different changing exhibitions of his work whichgive people from all over the world the opportunity toacquaint themselves with the works of Le Corbusier.And publications like this book make it possible formany people to get an introduction to a small butimportant part of the enormous complete works of Le Corbusier.

Heidi Weber

«Ich weiss, Sie waren früher Graveur für die Uhrenindus-trie. Ich möchte Sie gerne arbeiten machen, Monsieur.»Er war zuerst erstaunt, dann lächelte er: «Ja, das gefälltmir; ich mache Ihnen diese Platten.» Es entstanden unterseiner Hand die herrlichen grossen Blätter der Serie derverschiedenen «bull», «birth of minotaurus und «sea»(S. 33–37).

In verschiedenen Gesprächen hatte Le Corbusier dieErwartung und den Wunsch geäussert, dass ich – sollteIhm etwas zustossen – meine begonnene Vermittlerarbeitweiterführen sollte. Aus diesem Anliegen übertrug er mirin einem Vertrag für 30 Jahre das exklusive Reproduk-tions- und Verkaufsrecht für sein gesamtes künstlerischesWerk. So engagierte ich mich auch nach seinem plötz-lichen Tod weiter in dieser Aufgabe. Seine Bilder liessensich nur schwer verkaufen, denn Kritiker, Sammler undMuseumsdirektoren hatten in Le Corbusier nach wie vornur den Architekten sehen wollen. Aber ich gab nichtnach in meinen Bemühungen, und die Kraft, um immerneu gegen die alten Widerstände anzukämpfen, schöpfteich aus den Werken Le Corbusiers und aus der Erinnerungan seine Persönlichkeit. Und sehr oft fühlte ich michdabei an den Text der kleinen Lithografie «Don Quijote»(S. 59) erinnert: «Man muss gegen Windmühlen kämpfen,man muss Troja erobern, man muss das Pferd am Wagensein, jeden Tag.»

Seit meiner ersten Begegnung mit Le Corbusier inCap Martin haben meine Anstrengungen Früchte getra-gen, und ich habe heute vermehrt die Möglichkeit, seinkünstlerisches Werk auf verschiedene Weise zu vermit-teln: Im Ausstellungspavillon in Zürich, das Heidi WeberMuseum, finden wechselnde Ausstellungen seines Schaf-fens in dem von ihm speziell entworfenen Bauwerk statt,Wanderausstellungen meiner Sammlung und des grafi-schen Werkes sollen Menschen in aller Welt die Möglich-keit geben, sich in das Werk Le Corbusiers zu vertiefen.Publikationen wie dieses Buch machen es auf eine ein-fache Art möglich, sehr vielen Menschen Einblick in einenkleinen, aber wichtigen Teil des enormen GesamtwerksLe Corbusiers zu geben.

Heidi Weber

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13

Letter fromLe Corbusier toHeidi Weber 1964

Letter from Atelier Mourlot toHeidi Weber 1993

Heidi Weber and Le Corbusier

Paris 1963

14

«There do not exist sculptors only, painters only, architects only.The plastic event fulfills itself in an overall form in duty of poetry.»

15

Introduction

Le Corbusier is well-known and recognized, attackedand criticized as an architect; his revolutionary influenceon the architecture of our century is undisputed. But asa painter he remained for most of his life more or lessunknown, despite the fact that he himself said time andagain that there is an inseparable connection betweenpainting and architecture: «There do not exist sculptorsonly, painters only, architects only.The plastic event ful-fills itself in an overall form in duty of poetry.» Theuniqueness of Le Corbusier is based on the universalityof his work. It allows comparison with great artists ofthe Renaissance such as Leonardo da Vinci andMichelangelo.

Characteristic for the artistic working of Le Corbusieris the «patient research», the untiring search for thevalid form. Often he took up again, years after, a theme,and worked on it with different techniques and innu-merable variations. All the important themes continuedinto his late work and thus in the graphic works.Thestilllife themes from the puristic period occur again1;examples of objects with poetical inspiration are to befound in different engravings2; women, a long centraltheme, appear often alone or in compositions3; themost important theme of his late work is «Taurus»,which is also found in the variations «Sea» and «Birthof minotaurus»4.Le Corbusier, the designer and builder of the Punjabcapital Chandigarh, India, accomplished the sketch forthe portfolio «Cortege» when he stayed there in 1960.Therein are found elements from nearly all his workperiods, with the exception of «Bull», and the sequel ofthese six motives represents with certainty one of thehigh points of his graphic work.

To Heidi Weber is owed thanks for the initiation aswell as the production of most of the graphic works,and also for the publication of this book; she has madethe «Open hand» motto of Le Corbusier her own: «Withopen hand I receive, with open hand I give».

Hansjörg Gadient

1) P. 24, 51, 67 3) P. 25, 29–31, 44, 61, 64, 65, 71, 84, 85, 892) P. 26, 40, 47, 81, 86 4) P. 33–39, 72, 73, 76, 77, 80, 87

Einführung

Bekannt und anerkannt, angegriffen und kritisiert istLe Corbusier als Architekt, sein revolutionärer Einflussauf die Architektur unseres Jahrhunderts ist unbestrit-ten. Als Maler dagegen blieb er die längste Zeit seinesLebens mehr oder weniger unbekannt, obschon erselbst immer wieder auf die unlösbare Verbindung vonMalerei und Architektur hingewiesen hatte: «Es gibtkeine ‚Nur-Bildhauer’, ‚Nur-Maler’, ‚Nur-Architekten’, Dasplastische Ereignis vollzieht sich in einer Gesamtform,im Dienste der Poesie». Die Bedeutung Le Corbusierliegt in der Universalität seines Werkes. Sie erlaubteinen Vergleich mit den grossen Künstlerpersönlichkei-ten der Renaissance wie Leonardo da Vinci oder Miche-langelo.

Charakteristisch für die künstlerische ArbeitsweiseLe Corbusiers ist die unermüdliche Suche nach der gül-tigen Form. Er nimmt ein Thema – oft nach Jahren –immer wieder auf und bearbeitet es in verschiedenenTechniken und unzähligen Varianten. Alle wichtigen The-men setzten sich so bis ins Spätwerk und damit in dieGrafikblätter fort. Es findet sich das Thema aus demPurismus, das Stilleben wieder1 ; Beispiele für «Objektemit poetischer Inspiration» sind in den verschiedenstenBlättern zu finden2 ; Frauen, ein langes zentrales Thema,erscheinen allein oder in Kompositionen sehr oft3 ; daswichtigste Thema des Spätwerks ist der «Taureau», derauch in den Varianten von «Sea» und «Birth of minotau-rus» zu sehen ist4. Die Vorlagen zur Mappe «Cortege»schuf Le Corbusier 1960 in Chandigarh, der von ihm ent-worfenen und gebauten neuen Hauptstadt des Punjab,Indien. In ihr sind mit Ausnahme des «Bull» Elementeaus fast allen Perioden seines Schaffens zu finden, unddie Folge dieser sechs Motive stellt sicher einen Höhe-punkt in seinem grafischen Werk dar.

So wie der Arbeit Heidi Webers als Herausgeberinund Initiantin der grösste Teil der Grafikblätter zu ver-danken ist, ist ihr auch die Publikation dieses Buches zuverdanken; sie hat sich Le Corbusiers Motto der «offenenHand» zu eigen gemacht: «volle Hand empfing ich,offene Hand gebe ich.»

Hansjörg Gadient

1) S. 24, 51, 67 3) S. 25, 29–31, 44, 61, 64, 65, 71, 84, 85, 892) S. 26, 40, 47, 81, 86 4) S. 33–39, 72, 73, 76, 77, 80, 87

16

THE OPEN HAND

Open to receiveopen also that everyone comes and takes

the waters flowthe sun illuminatescomplexities have woventheir framethe fluids are everywhere.

The tools in the handthe caresses from the handlife one tastes throughthe kneading of handseyesight resides in the palpation

full hand I have receivedfull hand I give.

17

This open hand – a sign of peace and reconciliation – which has preoccupied me subconsciously for several years, must exist as a testimony of harmony. Works of war must be eliminated. We must invent; we must demand works of peace. 1951

18

The «Open hand» is the compressed version of Le Corbusier’s message which is expressed in his complete works andachieves this in an utmost simple, almost modest way which makes the message all the more meaningful. It is probablythe most important masterpiece amongst Le Corbusier’s printed work.

19

The open hand

196370 x 52 cm

75 Ex.with handsignatureand signed in stone

196365 x 50 cm

signed in stonelimited edition

Copper Etchings

New York

created 1946edited 1960

26,2 x 33,2 cm110 Ex.

signed in the plate

L-C Last Sunday, I did a large oil painting, 1.10 m in height.What work that was! Later that night, I still made a copper-plate engraving.

(New York, April 8, 1946)

22

24

Still life

created 1930/47edited 196041,8 x 32,8 cm100 Ex.with handsignatureand signed in the plate

25

Mural


32,4 x 25,3 cm100 Ex.

with handsignatureand signed in the plate

27

Dinosaur


28,2 x 37,9 cm100 Ex.

with handsignatureand signed in the plate

Hands

created 1930/48edited 196037,8 x 28 cm100 Ex.with handsignatureand signed in the plate

No 4 «Cheerfulness»


56,5 x 38 cm75 Ex.

signed in the plate

Artist’s proofwith dedicationto Heidi Weber

next double-page:

No 1 «Shell»

60 x 46 cmcreated 1953edited 197675 Ex.signed in the plate

No 2 «NON!»


No 3 «Unaware»


No 5 «Possibility of survival»


28

Sea

196357 x 76 cm

75 Ex.with handsignature

and signed in the plate

I had been very interested in drawing ever since I could remember. I drew on the table, everywhere, nonstop....One day my father told me, «Good, you’ll go to the local Art school» So I got into this school... I learned fine-line engra-ving for three years... metal chiseling... when you have an engraver’s tool in your hand and you’re engraving, well!you’ve got to push your tool with the full strength of your arm: you’ve got to push it straight ahead, and follow where it goes, and there’s no choice – left or right – you’ve got to push ahead. Now that forms a notion about how to draw, in a fellow who had no particular teachers.

32

Birth of minotaurus II

196457 x 76 cm


and signed in the plate34

Birth of minotaurus

1962/6457 x 76 cm75 Ex.with handsignatureand signed in the plate

Taurus

1954/59/6576 x 57 cm


and signed in the plate36

the sign of Taurus

Taurus

196565 x 50 cm110 Ex.signed in the plateand stamped signature

38

Birth of minotaurus

1956/6550 x 65,5 cm

110 Exsigned in the plate

and stamped signature

Sculpture

1940/6565 x 50 cm

110 Exsigned in the plate

and stamped signature

Mask and pine cone

196550 x 65 cm110 Ex.signed in the plateand stamped signature

Rhodoid Etchings

44

small ‘Confidences’

Portfolio125 Ex.

with handsignature

list of contentscover

ten sheets(next double-page)

1957/6056,8 x 45,7 cm

signed on the film

Rhodoid

This special technique of engraving was invented by Le Corbusier. He used a thick film of cellulose acetate on which he applied black color, into which he etched the lines, forms or composition. It wasthen ready to copy.

48

«series PANURGE»

Portfolio150 Ex.

with handsignature

textsheetcover

list of contentsfive sheets

(next double-page)

1961/6256,7 x 45,7 cm

signed on the film

This art folder written in the most solid language,always under my hand, somewhere with its companion Don Quixote and Odysseus between the three continents united by the sea.This book of quintessence is incomplete human contact, spirit, body, health... That is why Panurge in those August days in 1961 was «UBU» and became ‘marionette-like’.

50

These five compositions were engraved by Le Corbusier at Cap Martin in summer 1961 and printed by Mourlot in Paris in 1962.

52

Three women

1942/6445,5 x 56,2 cm185 Ex.signed on the film

53

Athlete

196456,2 x 45,5 cm

185 Ex.signed on the film

54

Le Corbusier’s hand,Taurus

196445,5 x 56,2 cm185 Ex.signed on the film

55

Le Corbusier’s hand,rocks

196445,5 x 56,2 cm

185 Ex.signed on the film

Lithographs

Don Quixote

1953/6050,5 x 35,3 cmsigned in stonelimited edition

one must fight against windmills!’one must conquer Troy …

one must be horse of the fiacreoctober Everyday!

53 Good courage! Yours L-C

58

Woman with rising hand

1954/62111,2 x 70 cm


With the exception of a few earlier copper etchings, the lithographs printed in this book derive from Le Corbusier’s late works. During the last ten years of his life he hardly painted at all. He turned to other techniques like collage,drawing, lithography, engraving, enamelling, and sketching for tapestries and sculptures. The great series «Taurus» belongs to this period, also the «Open hand». Stylistically,most of the works of this period were still influenced by the technique of collage. Balanced colour spots oppose and overlay his linear compositions, which are now freed of the earlier severity.

The predominantly brown and sepia coloured lithograph has strong, cubistic tendencies, although the true cubistic elements are not prevailing. It is executed almost in the style of a lino-cut.

60

62

The lithograph «Modulor» containes the dedication: Friend of the Modulor, search for yourself, invent, discover... bring your inventions, they will be useful. Thank you, friend.Paris 20.02.56 Le Corbusier

For the first time I transform dimensions intoproportions, and what proportions! Those of thepeople for whom we work.

MODULOR

63

Modulor

created 1950/56/6273,4 x 54,2 cmsigned in stonelimited edition

Musicians

1951/5968,5 x 98,6 cm


64

Women at window

created 1958edited 196442,2 x 64 cmsigned in stonelimited edition

Bottles

1923/6068 x 87,5 cm


66

The die is cast

created 1938/59edited 195952,4 x 76 cmsigned in stonelimited edition

Portrait

1940/43/6083 x 66 cm


1940/43/6076 x 64 cm


Le Corbusier often worked continually on the same theme. The different dates were notes by Le Corbusier for using different techniques such as oil painting, aquarell, pastel...

68

Pink women

1932/6168,5 x 98,5 cm


70

Otherworldy

196372,2 x 50 cmsigned in stonelimited edition

72

Taurus

1963110,6 x 74,2 cmsigned in stonelimited edition

Totem

196372,8 x 80,5 cm


196373 x 80,5 cm

signed in stoneand limited edition

Oil Painting1926/39

TOTEM

a natural object or animal believed by a particular society to have spirituel significance and adapted by it as an emblem.

74

76

Taurus

196371,3 x 52 cm125 Ex.with handsignatureand signed in stone

77

Taurus XVII

196371,3 x 52 cm


78

Sculpture study

196470,8 x 52 cm


Pictures were painted ... which according to their nature were sculptures ... but where does thesculpture begin, where the painting, where the architecture?

Taurus I

1954/59/6472 x 54 cm150 Ex.with handsignatureand signed in stone

80

Bone 2

1930/59/6454 x 72 cm


touching their feet

1952/63/6454 x 72 cm


82

85

Icon 8

196472 x 54 cm


Icon 4

196454 x 72 cm150 Ex.with handsignatureand signed in stone

86

crossed hands

1954/6472 x 54 cm150 Ex.with handsignatureand signed in stone

87

Taurus 6

1931/56/6472 x 54 cm


Athlete 7

1921/6472 x 54 cm


Concerning lithographs, the architect and the painter within Le Corbusier do battle against each other. Strong, colourful,contrasting surfaces are overlapped by linear constructions. However no manner of presentation wins the upper hand. Evena tiny green smudge is able to keep a muscular linear-athlete in check. Harmony, humor, balance.

88

90

«Cortege ...»Portfolio

coverlist of contents

6 sheets black / white6 sheets in colour

additional sheet

196071 x 103 cm


single sheet edition:black / white 150 Ex.

in colour 300 Ex.signed in stone

When Le Corbusier draws in black and white, he is conscious of the construction effect. With colour, he creates a completely new work of art with the same theme.

I dreamed

single sheetin colour

71 x 103 cm300 Ex.

signed in stone92

I dreamed

single sheetin black and white

71 x 103 cm150 Ex.signed in stone

93

94

Magic


71 x 103 cm300 Ex.

signed in stone

Magic



96

1939. Fall of Barcelona


71 x 103 cm300 Ex.

signed in stone

1939. Fall of Barcelona



98

Game


71 x 103 cm300 Ex.

signed in stone

Game



100

at home...


71 x 103 cm300 Ex.

signed in stone

at home...



102

at home....

additional sheetonly in portfolio

with Le Corbusier’scolour specification

104

Three apéritif glasses


71 x 103 cm300 Ex.

signed in stone

Three apéritif glasses



Appendix

108 109

Exhibitions of the graphic works organized by Heidi Weber, worldwide, over 45 years :

Museums and Galleries: Mezzanin Gallery Heidi Weber, Zurich; Gallery Horst Wiese, Mannheim; Gallery del Cavallino, Venedig; Gallery Prisma, Kopenhagen; GreenCollection, Tokyo; Gallery Levi, Milano; Gallery Narciso, Torino; Museum Haus Lange, Krefeld; Gallery Il Gabbiano, La Spezia; GalleryKetterer, Munich; Memphis Museum, Memphis; Jugendhaus Drahtschmidli, Zurich; White Gallery, Toronto; Gallery Sohle 1, Bergkamen;Gallery Beyeler, Basel; Gallery Valentien, Stuttgart; Gallery Finn Sloth, Kopenhagen; University Nova Scotia; University Halifax; UniversityWaterloo; Gallery von Moos, Geneva; Gallery Taugwalder, Zermatt; Gallery Forum, Porrentruy; Gallery Quader, Chur; Gallery Denise René,Paris; Gallery Lochte, Hamburg; Gallery Denise René, New York; Gallery Denise René, Krefeld; Nielsen Gallery, Boston; Ostermalm Gallery,Stockholm; Gallery Cour St-Pierre, Geneva; «Art», Basel; Gallery Modus, Berlin; Gallery Häuselmann, Zofingen; Junior Gallery, Hannover;Gallery Ziegler, Geneva; Gallery Studio 10, Chur; The Nielsen Gallery, Boston; Rhy-Gallery, Altstätten; Gallery Loeb, Bern; Museum CentreCulturel Neuchatelois, Neuchatel; Gallery Heidi Weber Limmatquai 16, Zurich; Institut Français, Berlin; Gallery von Laar, Munich; GalleryAmstutz, Zurich; Gallery Schöner Wohnen, Locarno; Shopping-Center, Spreitenbach; Design-Gallery, Tokyo; Museum of Art, Glarus; GalleryMarghitola, Luzern; Gallery Pancheri, Rovereto; Museum Jahrhunderthalle Hoechst, Frankfurt am Main; Kunstkeller, Kriens; Gallery BonnerZug; Schloss Detmold; Gallery Michel Tétreault, Montreal; Gallery Daniel Blaise Thorens, Basel; Glockenmuseum, Apolda; TheaterkellerSchaan, Vaduz; Museum Schloss Arbon

109

Heidi Weber MuseumCentre Le Corbusier

Last building designedby Le Corbusier

1961/64/67

Höschgasse 88008 Zurich / Switzerland

www.centre-lecorbusier.com

LIST OF CONTENTS

Preface 9

Introduction 15

The open hand 16

Copper etchings:New York 23Still life 24Mural 25Hands 26Dinosaur 27Five women ‘cheerfulness’ 29Five women ‘shell’ 30Five women ‘NON!’ 30Five women ‘Unaware’ 31Five women ‘Possibility of survival’ 31Sea 33Birth of minotaurus 34Birth of minotaurus II 35Taurus 37Taurus 38Birth of minotaurus 39Masc and pine cone 40Sculpture 41

Rhodoid engravings:Portfolio small ‘Confidences’ 45Portfolio «series PANURGE» 49Three women 52Athlete 53Le Corbusier’s hand, bull 54Le Corbusier’s hand, rocks 55

Lithographs:Don Quixote 59Women with rising hand 61Modulor 63Women at window 64Musicians 65The die is cast 66Bottles 67Portrait 69Pink woman 71Otherworldy 72Taurus 73Totem 75Taurus 76Taurus XVII 77Sculpture study 79Taurus I 80Bone 2 81Touching their feet 83Icon 4 84Icon 8 85Crossed hands 86Taurus 6 87Athlete 89Portfolio «Cortege...» 90I dreamed 92Magic 941939. Fall of Barcelona 96Game 98at home .... 100Three apéritif glasses 104

Appendix 107

LE CORBUSIER – THE ARTIST

Heidi Weber was awarded the Gold Medal for the book «The Artist» at the International Art Book Exhibition Leipzig 1989 by an international jury.

24,5 x 30 cm160 pages in colour193 pictures

hardcover edition: English/German, published: 1988softcover edition: German, published: 1988

LE CORBUSIER – MALER ZEICHNER PLASTIKER POET

Catalogue from the Exhibition 1999 in Apolda, Extension of the programme «Weimar 1999 – Cultural City of Europe»

24,5 x 30 cm78 pages in colour102 pictures

softcover edition: German, published: 1999

LE CORBUSIER – THE GRAPHIC WORK

24,5 x 30 cm112 pages in colour and black and white, 84 pictures

first edition, softcover: English/German, published: 1988second expanded edition, hard- and softcover: English/German, published: 2004third edition, softcover: English/German, published: 2009

HEIDI WEBER – 50 YEARS AMBASSADOR FOR LE CORBUSIER

24 x 30 cm208 pages in colour and black and white152 pictures in colour and 78 pictures in black and white

hardcover edition: English/German/French, published: 2008hardcover edition: English/German, published: 2009softcover edition: English/German, published: 2009

Le Corbusierthegraphicwork

��

Other publications from the same editor:Im gleichen Verlag erschienen:

Heidi Weber was one of Le Corbusier’s clo-sest confidante during the last seven years ofhis life. It was her, who produced for the firsttime his furnitures which became worldfamous. After this successful collaboration,Le Corbusier entrusted Heidi Weber with therepresentation and mediation of his completeartistic works for 30 years.

It is due to Mrs Weber’s encouragement that Le Corbusier createdthe lithographic works which are shown in this book.

Heidi Weber war eine der engsten Vertrauten von Le Corbusier wäh-rend der letzten sieben Jahren seines Lebens (1958–1965). Sie wares, die seine inzwischen weltberühmt gewordenen Möbel als Ersteproduzierte. Le Corbusier beauftragte Heidi Weber anschliessend für30 Jahre mit der Betreuung und Vermittlung seines gesamten künst-lerischen Schaffens.Frau Webers Anregung ist es zu verdanken, dass Le Corbusier diesesGrafische Werk geschaffen hat und dieses Buch entstehen konnte.

ISBN 3-9522553-4-3 (Br)

Impressum

Le Corbusier – the graphic workEditor Heidi Weber, Zurich / Montreal

Concept and Layout: Heidi WeberPrint: werk zwei Print + Medien Konstanz GmbH

First edition 19882000 Ex. (softcover)

New expanded edition on theoccasion of the summer exhibition 01.07.– 30.09.2004at the Heidi Weber Museum – Centre Le Corbusier2000 Ex. (softcover)1000 Ex. (hardcover)

Third edition 2009 on theoccasion of the summer exhibition 04.07.– 27.09.2009at the Heidi Weber Museum – Centre Le Corbusier2000 Ex. (softcover)

© 2009 Edition Heidi Weber, FLC / ProLitteris, Zurich All rights reservedCover: “Cortège 1” «I dreamed»

Documents

Le Corbusier – the graphic work Le Corbusier – Das ... · Le Corbusier put together a selection of drawings and paintings which he allowed me to show in my interior design gallery