Chagall, Marc, The Tribe of Zebulun from The Twelve Maquettes Of Stained Glass Windows For Jerusalem, 1964
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Email to FriendSigned Marc Chagall, Lithograph, The Tribe of Zebulun from The Twelve Maquettes Of Stained Glass Windows For Jerusalem, 1964  |
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| Artist: | Chagall, Marc (1887 - 1985), After |
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| Title: | The Tribe of Zebulun from The Twelve Maquettes Of Stained Glass Windows For Jerusalem, 1964 |
| Reference: | CS 16 |
| Medium: | Original Color Lithograph |
| Image Size: | 24 in x 18 in (61 cm x 46 cm) |
| Sheet Size: | 29 1/8 in x 20 11/16 in (74 cm x 52.5 cm) |
| Framed Size: | Approx. 43 1/4 in x 36 1/4 in (109.9 cm x 92.1 cm) |
| Signed: | This work is hand signed by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin. |
| Edition: | Numbered from the edition of 150 in pencil in the lower left margin (total edition of 150 proofs signed and numbered in Arabic numerals, 75 proofs signed and numbered in Roman numerals, and 10 artist's proofs). |
| Condition: | This work is in excellent condition, with bright and fresh colors. |
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Gallery Price
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Item# 3825
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Notable for its explosive use of color, this work features bold, rich reds that swirl throughout the entire composition, allowing for Zebulun's characters to seemingly leap from the work. Highly symbolic and incredibly rich in meaning, the figures form to create the name, 'Zebulun' in Hebrew letters along the upper area of the piece. |
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| Historical Description: | |
According to Jean Leymarie: Aligning with the maritime vocation affiliated with Zebulun, Chagall creates a strikingly bold work featuring subjects of the sea. Harmoniously balanced and brilliantly colored in saturated hues of red, blue, green, and purple, this work depicts two fish leaping towards one another, their bodies forming a graceful arc at the center of the composition. Beneath them, a ship sails upon a slightly choppy sea, as the sun just begins to peak over the horizon. Across the top of the composition, snaking Hebrew letters spell out the work "Zebulun," further glorifying Leah's favored son. Created in 1964, this image is one in a series of twelve lithographs. Commissioned by the Hadassah-Hebrew Medical Center, Chagall created these works as maquettes for a series of stained glass windows to be installed in the Center's synagogue outside of Jerusalem. The work was engraved by Charles Sorlier, who worked in close collaboration with the artist and is printed on watermarked Arches wove paper. This piece is numbered from the edition of 150 in the lower left (total edition of 150 proofs signed and numbered in Arabic numerals, 75 proofs signed and numbered in Roman numerals, and 10 artist's proofs). This work is hand signed by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin and signed in the stone, 'CH. SORLIER. GRAV. LITH.' at the lower left of the image. Catalogue Raisonné & COA: 1. Leymarie, Jean. Marc Chagall: The Jerusalem Windows. New York: Park Lane, 1988. Listed and illustrated on pp. 77-88. 2. Sorlier, Charles. Chagall Lithographs, 1974-79. New York: Crown Publishers, Inc., 1984. Listed on p. 207 as catalogue no. CS 16. 3. Martin Lawrence Galleries. Marc Chagall. 1999. Listed as CS 16 on pg 60. 4. A Certificate of Authenticity will accompany this work. About the Framing: | |
| Style: | Modern Master |
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Biography of Marc Chagall
Marc Chagall (1887 - 1985)
Marc Chagall was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in Saint Petersburg, at the Imperial Society for the Protection of the Arts and later with Léon Bakst. In 1910, he moved to Paris, where he associated with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des Indépendants and the Salon d'Automne in 1912. His first solo show was held in 1914 at Der Sturm gallery in Berlin.
Chagall visited Russia in 1914, and was prevented from returning to Paris by the outbreak of war. He settled in Vitebsk, where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until disagreements with the Suprematists resulted in his resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater there. After a sojourn in Berlin, Chagall returned to Paris in 1923 and met Ambroise Vollard. His first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. During the 1930s, he traveled to Palestine, the Netherlands, Spain, Poland, and Italy. In 1933, the Kunsthalle Basel held a major retrospective of his work.
During World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam, and London. During 1951, he visited Israel and executed his first sculptures. The following year, the artist traveled in Greece and Italy. During the 1960s, Chagall continued to travel widely, often in association with large-scale commissions he received. Among these were windows for the synagogue of the Hadassah-Hebrew University Medical Center, Jerusalem, installed in 1962; a ceiling for the Paris Opéra, installed in 1964; a window for the United Nations building, New York, installed in 1964; murals for the Metropolitan Opera House, New York, installed in 1967; and windows for the cathedral in Metz, France, installed in 1968. An exhibition of the artist's work from 1967 to 1977 was held at the Musée du Louvre, Paris, in 1977-78, and a major retrospective was held at the Philadelphia Museum of Art in 1985. During his lifetime he also created popular lithographs, such as Maternity. Chagall died March 28, 1985, in Saint-Paul-de-Vence, France.
"When Matisse dies," Pablo Picasso remarked, "Chagall will be the only painter left who understands what color really is." Picasso claimed he was not a fan of the "flying violins and all the folklore, but his canvases are really painted, not just thrown together." He followed up by saying, "There's never been anybody since Renoir who has the feeling for light that Chagall has."
The Haggerty Museum describes The Bible Chagall prints as showing "Chagall's fluid forms, dreamlike sense of space and unique style. In his choice of subject matter, Chagall reveals his reading of the Old Testament in its moments of triumph, sorrow, and prophecy."
