Marc Chagall, La Victoire, 1967
|Artist:||Marc Chagall (1887 - 1985)After|
|Title:||La Victoire, 1967|
|Image Size:||24 1/8 in x 18 in (61.2 cm x 45.7 cm)|
|Sheet Size:||29 in x 20 7/8 in (73.7 cm x 53.0 cm)|
|Framed Size:||43 1/4 in x 36 1/4 in (109.9 cm x 92.1 cm)|
|Edition:||Unnumbered artist proof, aside from the edition of 150.|
|Signature:||This work is hand signed by Marc Chagall (1887 - 1985) in pencil in the lower right margin.|
|Condition:||This work is in excellent condition.|
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Item # 5023
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Historical Description of this artwork
In Chagall La Victoire, 1967, inspired by the warmth, joy, and plentitude of the Mediterranean, Chagall offers us a refreshing take at the old French subject of Victory. His flushed pallet and carefree gestures allow us to understand and experience Victory as do the Niçois, under the glow of the wonderfully carefree and warm Mediterranean sun.
Using the Avenue De La Victoire as his muse, Chagall constructs an iconography that is buoyant and cheerful, while remaining true to the traditional elements of the subject. A riot of color assaults the viewer as a torrent of pedestrian commoner’s stream between a colonnade replete with a row of arches down Victory Avenue. Chagall’s Niçois version of lady Victory is a sinewy red head with flushed cheeks and round bust. Instead of the customary flag, this iconoclast offers her citizens a flourishing bouquet of Niçois flowers that radiate color and warmth under Chagall’s hand. Lest we forget about the tender and moving Mediterranean sea, which in its reflection of the midday sun, foments the jocund atmosphere, Chagall finishes his piece using a playful cerulean blue to create a quirky fish and the gentle sea as it laps against the shoreline. The whimsical cast of characters and effulgent colors testify to the effects of the Mediterranean on Chagall, which are especially evident in this work. It is that certain light-heartedness of the Mediterranean that drew Chagall and other’s to the sea, and which we perhaps should endeavor to incorporate into our daily lives, if not by actually visiting, then by owning this piece.
This piece is part of a set of 12 lithographs titled Nice and the Côte d’Azur that were created in collaboration between Chagall and Charles Sorlier. This work is an unnumbered artist proof aside from the numbered edition of 150. This piece is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin and signed ‘CH. SORLIER SCULP’ in the stone in the lower left of the image and ‘MARC CHAGALL PINX’ in the stone in the lower right of the image.
1. Private Collection, Lake Forest, Illinois
Catalogue Raisonné & COA:
Marc Chagall La Victoire, 1967 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoice accompanying the final sale of the work).
1. Sorlier, Charles, Chagall Lithographs, Volume V, New York: Crown Publishers, 1984. Listed and illustrated as catalogue raisonné no. CS 31.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall La Victoire, 1967 is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with silk-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.”