The Conquest of the Air

Roger de La Fresnaye (1885-1925) belonged to the Cubist movement, a crucial style in early 20th century modernism which broke objects into geometric blocks shown from multiple angles. De La Fresnaye’s paintings reflected a more structured and legible version of Cubism with recognisable figures and a relatively coherent landscape. His style acted a bridge between Classism and a classical order seen in Post-Impressionism or Neoclassicism. The Conquest of the Air (1913) was painted just before the First World War and is therefore influenced by the transformation of early aviation which stood as a symbol of modern progress and new perceptions. However, the scene isn't just about airplanes - it is a notion of conquering space itself. De La Fresnaye, inspired by aviation, has used it has a metaphor for human invention and a new modern worldview. At first glance, the canvas incorporates many different and perhaps confusing components: two men sitting at a table playing cards as a balloon floats in the sky next to a billowing French flag whilst natural elements such as a river and trees surround them. De La Fresnaye has implemented these objects, subtly referencing the four elements: air, water, earth, and wind. This painting is influenced by aviation - so why no airplane? De La Fresnaye has created an allegorical scene; the two men represent thought, intellect, and planning. It has been through that the two men represent De La Fresnaye, himself, and his brother who was an aviation engineer. They represent the mental conquest that precedes modern technological achievement and advancement. The concept of the painting depicts how the conquest and success of the air begins in the mind. The floating balloon symbolising early flight and imagination, the French flag signifying national pride, and the floating figures create a sense of weightlessness and aspiration in which they hope to achieve. The scene is fragmented but organised with geometric structure creating a calming juxtaposition between clarity and abstraction. De La Fresnaye has created a scene which feels optimistic and celebratory, exploring a modern take on Cubism, balancing technological invention with artistic innovation.