Henri Le Fauconnier was born in Hesdin in 1881. Arriving in Paris at the beginning of the century, he gradually abandoned law for painting, attended the workshop of Jean-Paul Laurens then the Académie Julian. His first landscapes of Brittany, painted around Ploumanac'h between 1907 and 1909, simplified rocks, houses and hills into heavily constructed volumes. This geometrization brings him closer to Albert Gleizes, Jean Metzinger, Fernand Léger and Robert Delaunay. The Falconer became one of the central figures of cubism exhibited in the Salons, distinct from the more intimate research of Picasso and Braque. In 1911, the collective presentation of the Cubists at the Salon des Indépendants caused a considerable impact. L'Abondance, a vast composition from 1910, applies the fragmentation of volumes to a monumental figure surrounded by fruits, water and rocks. Its density is in this way worth the name "physical" cubism. Member of the Golden Section and author of theoretical texts, Le Fauconnier directed the La Palette Academy in 1912, an important place for the young avant-garde. The Montagnards attacked by bears then pushed the Cubist masses towards drama in 1912: bodies, animals and landscape collide in an almost sculptural construction. At the start of the First World War, the artist remained in the Netherlands for six years. At the start of the First World War, the artist remained in the Netherlands for six years. At the start of the First World War, the artist remained in the Netherlands for six years. The Montagnards attacked by bears then pushed the Cubist masses towards drama: bodies, animals and landscape collide in an almost sculptural construction. At the start of the First World War, the artist remained in the Netherlands for six years. At the start of the First World War, the artist remained in the Netherlands for six years. The artist remained in the Netherlands for six years. At the start of the First World War, the artist then pushed the Cubist masses towards drama: bodies, Rembrandt and the Dutch expressionists, his palette darkens and his material becomes thicker. The Hunter belongs to this more interior world, where the figure seems to emerge from the forest and the dough. Returning to France in 1920, Le Fauconnier gradually moved away from strict cubism and returned to a more flexible figuration. Died in Paris in 1946, Le Fauconnier gradually moved away from strict cubism and returned to a more flexible figuration. Died in Paris in 1946, he remained an essential conduit between Paris, Munich, Amsterdam and the various European avant-gardes. Died in Paris in 1946, he remained an essential conduit between Paris, Munich, Amsterdam and the various European avant-gardes. Died in Paris in 1946, he remained an essential conduit between Paris, Munich, Amsterdam and the various European avant-gardes. Died in Paris in 1946, he remained an essential conduit between Paris, Munich, Amsterdam and the various European avant-gardes. The "Henri Le Fauconnier" selection notably compares L'Abondance and Le Chasseur. His reading favors movement.
The Falconer does not fragment shapes to make them light: he thickens them, fits them together and gives them the physical weight of a landscape, a body or a confrontation.
