Models, mosaic project for Gaz de France Alforville 

Curator: Looking at this bold composition, we have a preparatory work by Fernand Léger, entitled "Models, mosaic project for Gaz de France Alforville." It’s currently housed at the Musée National Fernand Léger in Biot, France. Editor: My first impression is the dynamic energy it projects! The sharp lines, the geometric forms, and that vibrant color palette really grab your attention. Curator: Absolutely. Léger was deeply interested in the relationship between art and modern life, particularly industrialization. This mosaic project was likely commissioned as part of Gaz de France's initiative to integrate art into their infrastructure, thereby projecting an image of progress. Editor: The materials used really reflect that emphasis on industry. These acrylic paints, so crisp and clean, must have been an exciting medium back then. A huge departure from traditional mosaic work that relies on handmade processes and rough hewn material, it is interesting how here it is a study for such process. It is like a modern spin on that traditional handcrafting. Curator: Precisely. Think of the political implication of state endorsement and support of arts with public funds like Gaz de France. Commissioning artwork signaled to the French public that these institutions cared about culture. It played into post-war rebuilding efforts. Editor: Yes, but this isn't merely a simple emblem. Notice the "flames," they give this design a central tension between industry and natural elements. Its representation might remind us about our contemporary discussions about climate. How images change over time! Curator: Léger certainly believed that art should be accessible. By integrating art into places like gasworks, it moved art beyond the gallery and museums and incorporated into ordinary people's day-to-day lives. Editor: So this image isn't just visually appealing; it acts as social and political statement by connecting the populace with modernization of French gasworks. I will look at gas facilities differently from now on. Curator: This piece showcases that the politics of imagery can tell nuanced narratives when understood through the context of its history.