Chagall

Chagall

Language: English

Pages: 98

ISBN: B00CR6CYK4

Format: PDF / Kindle (mobi) / ePub


Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment.
At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.

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picturale, avait apporté une nervosité frêle et une netteté aux lignes qui répondent avec assurance et justesse à la couleur et pour beaucoup, la commandent. Les taches de couleur, ayant alors acquis des contours concrets et donc un autre registre d’expression, se défont de l’à-peu-près et s’emplissent d’une puissance nouvelle et inquiétante. De ce fait, la palette de Chagall a acquis une certaine délicatesse sans rien perdre de son caractère primordial, les structures émotionnelles et

synthèse dans laquelle existent librement et harmonieusement le conte, le mythe, la représentation que l’enfant se fait du monde qui est en lui et autour de lui. Cette affirmation d’une consubstantialité de l’homme et du monde est intuitivement perçue par Chagall, quand il écrit dans Ma Vie : « L’art me semble être surtout un état d’âme. L’âme de tous est sainte, de tous les bipèdes sur tous les points de la terre. 9 » Et plus tard, en 1958, Chagall ajoutera dans un discours prononcé à

synthèse dans laquelle existent librement et harmonieusement le conte, le mythe, la représentation que l’enfant se fait du monde qui est en lui et autour de lui. Cette affirmation d’une consubstantialité de l’homme et du monde est intuitivement perçue par Chagall, quand il écrit dans Ma Vie : « L’art me semble être surtout un état d’âme. L’âme de tous est sainte, de tous les bipèdes sur tous les points de la terre. 9 » Et plus tard, en 1958, Chagall ajoutera dans un discours prononcé à

37. Soldats aux pains (1914-1915), gouache et aquarelle sur carton, 50,5 x 37,5 cm, collection Z. Gordeïeva Saint-Pétersbourg. 50 Page 50 PS Chagall 4C ok.qxp 7/6/2007 5:44 PM Page 51 38. Au-dessus de la ville (1914-1918), huile sur toile, 141 x 198 cm, Galerie Trétiakov, Moscou 51 PS Chagall 4C ok.qxp 7/6/2007 39. Le Miroir (1915), huile sur carton, 100 x 81 cm, Musée russe, Saint-Pétersbourg. 52 5:44 PM Page 52 Pour le premier anniversaire de la révolution d’octobre, il fait «

sur la même toile - il crée, d’un côté, un monde sublimement métaphorique et, de l’autre, des tableaux gentiment caustiques de la vie à Vitebsk en se défiant absolument des systèmes et des manifestes et sans s’affilier à aucun groupe quel qu’il soit. Chagall est doué d’une sorte d’« immunité stylistique », il s’enrichit sans rien détruire de sa propre structure. Il s’enthousiasme, apprend en toute ingénuité, se défait de la maladresse juvénile, mais sans perdre son « point d’Archimède ». Parfois,

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