The painting’s authenticity was first suspected by the art historian Douglas Cooper in the 1970s and the work, supposedly from Léger’s “Contraste de formes” series of 1913-14, was never exhibited or catalogued as a result.
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The painting’s authenticity was first suspected by the art historian Douglas Cooper in the 1970s and the work, supposedly from Léger’s “Contraste de formes” series of 1913-14, was never exhibited or catalogued as a result.