Chapter title (folio 20) from La Fin du monde filmée par l'ange de N.-D. (The End of the World Filmed by the Angel of Notre Dame)

Chapter title (folio 20) from La Fin du monde filmée par l'ange de N.-D. (The End of the World Filmed by the Angel of Notre Dame) is a significant work produced by Fernand Léger in 1919. This piece serves as one element within the comprehensive illustrated book, a foundational publication that marked a pivotal moment in the French art world as it adapted to the post-war mechanical age.

The complete book contains twenty-two pochoirs, six of which utilize a line block foundation, in addition to two line blocks appearing on the front and back covers. The medium used is pochoir, a highly precise stenciling technique often employed for limited-edition fine art prints and publications. Léger’s choice of this vibrant, graphic, and somewhat industrial technique aligns perfectly with the aesthetic shift he underwent during the period, moving from analytical Cubism towards a more streamlined, Purist vision. The bright, flat color applications characteristic of the pochoir method suited his increasingly geometric style, which focused heavily on cylinders, cones, and mechanical planes.

The illustrated book, featuring text by Blaise Cendrars, explores complex themes related to modernity, urbanization, and the chaotic spectacle of the machine age. Léger translates these themes into dynamic, abstract compositions that reflect the speed and fragmentation of life immediately following the Great War. Although this specific folio acts as a simple chapter title, its design carries the visual energy and formal rigor of the entire collection. This output from 1919 showcases Léger's early commitment to graphic design and book illustration as critical forms of artistic expression, a dedication he maintained throughout his career.

This important example of early modern French prints and book art resides in the collection of the Museum of Modern Art (MoMA). The work, as part of a cornerstone of avant-garde publishing, is frequently referenced in studies concerning the intersection of literature and geometric abstraction. High-resolution images of artwork and prints from this era, once they pass specific copyright limitations, frequently enter the public domain, allowing broader access to these formative illustrations.