Fernand Léger’s commitment to a truly populist art ultimately led him beyond the painting of manufactured objects. His desire for the unrestricted use of color as well as his growing interest in abstraction led him to execute several monumental murals intended for public settings in 1924. Léger presented his first murals in Paris in 1925 at the Exposition internationale des arts décoratifs, in the Pavillon de l'Esprit Nouveau designed by architect Le Corbusier. “In general,” Léger claimed, “pure colors and geometric forms are not compatible with easel painting. Abstraction requires large surfaces, walls. There one can organize an architecture and a rhythm.”¹ While it is not known whether he conceived Mural Painting (Peinture murale, 1924–25) for a specific site, the influence of modernist architectural theorists, and in particular Le Corbusier, is evident. Seeking to lend a sense of rhythm to a static space, Léger designed vertical and horizontal bands of color that vitalize the pictorial plane and suggest expansion or recession. In this regard, the mural effectively destroys the rigidity of the rectangle and the blank wall.