Editing Fernand Léger (section)

===1909–1914===
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 | image1    = Fernand Léger, 1911-1912, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York..jpg
 | width1    = 160
 | caption1  = ''Les Fumeurs (The Smokers)'', 1911–12, oil on canvas, 129.2 × 96.5 cm, [[Solomon R. Guggenheim Museum]], New York
 | alt1      = A painting of smokers
 | image2    = Fernand Léger, Woman in Blue, Femme en Bleu, 1912, oil on canvas, 193 x 129.9 cm.jpg
 | width2    = 145
 | caption2  = ''La Femme en Bleu'' (''Woman in Blue''), 1912, oil on canvas, 193 × 129.9 cm, [[Kunstmuseum Basel]]. Exhibited at the 1912 [[Salon d'Automne]], Paris
 | alt2      = A painting of a woman in blue
 | image3    = Fernand Léger, 1912-13, Nude Model in the Studio (Le modèle nu dans l'atelier), oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim.jpg
 | width3    = 161
 | caption3  = ''Nude Model in the Studio (Le modèle nu dans l'atelier)'', 1912–13, oil on burlap, 128.6 × 95.9 cm, [[Solomon R. Guggenheim Museum]], New York
 | alt3      = Painting of a nude 
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In 1909, he moved to [[Montparnasse]] and met [[Alexander Archipenko]], [[Jacques Lipchitz]], [[Marc Chagall]], [[Joseph Csaky]] and [[Robert Delaunay]].

In 1910, he exhibited at the [[Salon d'Automne]] in the same room (salle VIII) as [[Jean Metzinger]] and [[Henri Le Fauconnier]]. In his major painting of this period, ''Nudes in the Forest'', Léger displays a personal form of [[Cubism]] that his critics termed "[[Tubism]]" for its emphasis on cylindrical forms.<ref name="Néret 1993, p. 242">Néret 1993, p. 242.</ref>

In 1911, the hanging committee of the [[Salon des Indépendants]] placed together the painters identified as 'Cubists'. Metzinger, [[Albert Gleizes]], Le Fauconnier, Delaunay and Léger were responsible for revealing Cubism to the general public for the first time as an organized group.

The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, [[Francis Picabia]] and the Duchamp brothers, [[Jacques Villon]], [[Raymond Duchamp-Villon]] and [[Marcel Duchamp]] to form the [[Puteaux Group]]—also called the ''[[Section d'Or]]'' (The Golden Section).

Léger's paintings, from then until 1914, became increasingly [[Abstract art|abstract]]. Their tubular, conical, and cubed forms are laconically rendered in rough patches of [[primary colors]] plus green, black and white, as seen in the series of paintings with the title ''Contrasting Forms''. Léger made no use of the [[collage]] technique pioneered by [[Georges Braque|Braque]] and [[Picasso]].<ref>Néret 1993, p. 102.</ref>