This painting represents a group of three reclining nudes drinking tea or coffee in a chic apartment. While the reclining nude is a common subject in art history, these women's bodies have been simplified into rounded and dislocated forms, their skin not soft but firm, buffed, and polished. The machinelike precision and solidity with which Léger renders human form relates to his faith in modern industry and to his hope that art and the machine age would together reverse the chaos unleashed by World War I.
Gallery label from 2006.
In Three Women, Léger translates a common theme in art history—the reclining nude—into a modern idiom, simplifying the female figure into a mass of rounded and somewhat dislocated forms, the skin not soft but firm, even unyielding. The machinelike precision and solidity that Léger gives his women's bodies relate to his faith in modern industry, and to his hope that art and the machine age would together remake the world. The painting's geometric equilibrium, its black bands and panels of white, suggest his awareness of Mondrian, an artist then becoming popular. Another stylistic trait is the return to variants of classicism, which was widespread in French art after the chaos of World War I. Though buffed and polished, the simplified volumes of Léger's figures are, nonetheless, in the tradition of classicists of the previous century. A group of naked women taking tea, or coffee, together may also recall paintings of harem scenes, for example, by Jean-Auguste-Dominque Ingres, although there the drink might be wine. Updating the repast, Léger also updates the setting—a chic apartment, decorated with fashionable vibrancy. And the women, with their flat-ironed hair hanging to one side, have a Hollywood glamour. The painting is like a beautiful engine, its parts meshing smoothly and in harmony.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 100.