Tailpiece (folio 6 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 6 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 illustrative work created by Fernand Léger in 1919. This piece originates from an important avant-garde French publication that encapsulated the dynamic, post-war artistic atmosphere. The work is classified as an illustrated book print, specifically utilizing the medium of pochoir, a refined stencil printing technique that allowed for the precise application of flat, unmodulated color fields. This specific tailpiece is one element drawn from the total of twenty-two pochoirs included in the publication, six of which also incorporated a preparatory line block to define the structure.

Léger, in 1919, was deeply invested in mechanization and geometric Purism, a transition period that followed his experiences during the First World War. This aesthetic shift heavily informed the design of the entire volume. The overall publication, La Fin du monde filmée par l'ange de N.-D., reflects the era's fascination with technology and cinematic representation, interpreting the dramatic theme of the end of the world through a modernist lens. In this Tailpiece, Léger employs bold black outlines and simplified, dynamic shapes. These structural elements are characteristic of his move toward constructing reality using primary geometric forms, a hallmark of his inter-war output. The design functions both as an illustration and a cohesive graphic element, underscoring the artist’s dedication to producing high-quality prints.

As a definitive example of early post-war graphic arts, this French work encapsulates the revolutionary artistic spirit of 1919. The process of reproducing the imagery through pochoir allowed for the broad dissemination of Léger’s visual vocabulary far beyond unique canvases. Works of this type, often circulated through publications and offered as individual prints, are highly valued references in the history of graphic modernism. Reflecting the broader output of this influential illustrated book, this particular piece is held in the renowned collection of the Museum of Modern Art, New York. Images of significant early modern prints like this are integral to scholarly research and are often found in the public domain after their initial copyright expires.