Tailpiece (folio 10 verso) from La Fin du monde filmée par l'ange de N.-D. (The End of the World Filmed by the Angel of Notre Dame)

Tailpiece (folio 10 verso) 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 element from an illustrated book created by Fernand Léger in 1919. This seminal work is classified as a livre d'artiste, representing a critical collaboration between avant-garde writers and artists in the immediate aftermath of the First World War. This piece is housed within the comprehensive collection of modern works at the Museum of Modern Art (MoMA).

The artwork employs the pochoir technique, a highly detailed stenciling method prized for its ability to produce vibrant colors and crisp edges, characteristics which Léger frequently utilized to express his machine-age aesthetic. The complete illustrated book utilized twenty-two pochoirs, with six incorporating an underlying line block for enhanced definition and structural clarity. The complex, multi-layered printing process required for these prints reflects the technical ambition of the project.

Created in 1919, this French cultural product emerged at a moment when artists were actively redefining modernism through geometric abstraction and mechanical forms. Léger was central to this shift, moving away from earlier Cubist modes toward a purified, standardized vocabulary that celebrated the functional beauty of technology and industry. The Tailpiece, in its design, visually reinforces the geometric structure and sense of regulated movement that defined the period. The overarching theme of La Fin du monde filmée par l'ange de N.-D. suggests a satirical engagement with apocalyptic ideas, filtered through the lens of modern mass production and media.

As a component of a foundational Illustrated Book, this pochoir offers valuable insight into the development of abstract graphic design during the 1919 period. The complexity and precision of the graphics solidify Léger’s reputation not only as a monumental painter but also as a master of graphic illustration. The complete volume remains a celebrated example of the livre d'artiste tradition and is a vital holding in the museum's collection.