Marc Chagall, Hommage à Marc Chagall, 1969
|Artist:||Marc Chagall (1887 - 1985)|
|Title:||Hommage à Marc Chagall, 1969|
|Medium:||Original Color Chagall Lithograph|
|Image Size:||12.9 in x 9.5 in (32.8 cm x 24.2 cm)|
|Sheet Size:||19.7 in x 14.2 in (50 cm x 36 cm)|
|Framed Size:||30 13/16 in x 27 1/2 in (78.3 cm x 69.9 cm)|
|Edition:||Numbered from the edition of 75.|
|Signature:||Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin|
Item # 2247
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Historical Description of this artwork
The beautiful Chagall Hommage à Marc Chagall, 1969 created for a special edition of the well-known Parisian art review XXe Siècle is elegant in both composition and coloring. The overlapping figures and bold hues animate the interior of the image with a remarkable sense of life.
Directed by Sicilian critic and gallerist Gualtieri di San Lazzaro, the art review XXe Siècle featured all great modern artists, from Sonia Delaunay to Joan Miró to Marc Rothko. This lithograph, created by Chagall to illustrate a special edition of the well-known Parisian art review dedicated to his achievements, bears all the trademark qualities of the artist’s best work. A man and woman appear in the center of the work, anchoring a composition that features cool blues, warm pinks, and nuanced neutral shades. Small houses grow from a ground animated by donkeys and walking figures. A crescent moon and subtle bouquet of flowers complete the image. Located firmly in the thriving Parisian art scene of the 1970’s, this print is a must-have for any serious collector of Chagall’s whimsical graphic works.
Created in 1969, this color lithograph is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin. Numbered from the edition of 75, this work is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin. Numbered from the edition of 75 this lithograph is from to the signed edition with wide margins created aside from the book edition.
Catalogue Raisonné & COA:
Marc Chagall Hommage à Marc Chagall, 1969, is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work).
1. Gauss, Ulrike, ed. Marc Chagall – The Lithographs, La Collection Sorlier. Listed and illustrated as catalogue raisonné no. 572.
2. Sorlier, Charles. Chagall: Lithographe, 1969-1973. Listed and illustrated as catalogue raisonné no. 572.
3. Cramer, Patrick. Marc Chagall, The Illustrated Books: Catalogue Raisonné. Listed and illustrated as catalogue raisonné no. 80.
4. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall Hommage à Marc Chagall, 1969, is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Marc Chagall Biography
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 Museum of Biblical Art 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.”