| Summary: | 碩士 === 國立中央大學 === 藝術學研究所 === 95 === This study examines the situations an artist might face in trying to link up the autonomy of art with its social functions, and Fernand Léger is the case in point. The war of 1915-1918 was a dividing line in Léger’s art and thought between the formalism of his well-known cubist period and the increasing public concerns of his entire later life. His identification of the artistic career changed from an “artist” to an “artist in society.” However, he was facing the dilemma of defending the autonomy of art or making his work understandable and accessible to the public. On the controversial issue of work for art or work for society, in Léger’s case, the findings confirm that: First, the supposed autonomous development of art is inextricably bound up with an artist’s social practice. Second, as a work of art in society, it must be more or less in the condition of self-government or independent. Third, the independence of artistic practice will be diminished in exchange for more involvement in social activities. To sum up Léger’s artistic career as a whole, what he had done is that of a painter’s duty, and his art is essentially visual. He attempts to distinguish his works from those hermetic modern ones, getting them back to the realm of sensation. For Léger, to enlighten the human senses is the function of art in modern society.
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