Marc Chagall, Marc Chagall La flûte enchantée (The Magic Flute), 1967
Signed Marc Chagall lithograph, Marc Chagall La flûte enchantée (The Magic Flute), 1967
|Artist:||Marc Chagall (1887 - 1985)After|
|Title:||Marc Chagall La flûte enchantée (The Magic Flute), 1967|
|Image Size:||39 1/4 in x 25 1/4 in (99.7 cm x 64.1 cm)|
|Sheet Size:||40 in x 26 in (101.6 cm x 66 cm)|
|Framed Size:||54 5/8 in x 40 5/8 in (128.6 cm x 103.2 cm)|
|Edition:||Numbered from the edition of 200 in pencil in the lower left.|
|Signature:||This work is hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right.|
|Condition:||This work is in excellent condition. The colors are intensely saturated, bold, and fresh.|
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Historical Description of this artwork
Stunning in its poetic display of color, Marc Chagall The Magic Flute (La flûte enchantée), 1967, mimics the melodic symphony of The Magic Flute. Its animals are bursting with emotion while the angelic figure in the center plays benevolently, leading us to believe the flute is truly magical. This work in particular is considered one of the top three of Chagall’s best works; the scale and color saturation is what sets The Magic Flute apart from any other Modern Master of the 20th century. The viewer is lulled by the cool hues of blue and green which swirl around the characters’ glee while yellows and reds help anchor the composition and lighten up the forest floor. This quality of restive tonality accented by climactic hues, calls to mind the ebb and wane of Mozart’s orchestral arrangements. The imagery further highlights the movement in which the colors, richly saturated and alive, effortlessly glide across the picture plain and echo the mastery of Mozart’s craft.
Created in 1967, this work was inspired by a performance of Mozart’s The Magic Flute in which he created the sets and costume shown on the stage of the Metropolitan Opera House of New York. It is one of the few artist-signed examples out of the 200 numbered on Arches wove paper. The image is also engraved in the plate “d’Apres Marc Chagall – Ch. Sorlier Grav.” Numbered out of the edition of 200 in pencil in the lower left and hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right.
Catalogue Raisonné & COA:
Marc Chagall The Magic Flute (La flûte enchantée), 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, 1974-1979. Listed and illustrated as catalogue raisonné no. CS 38.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall The Magic Flute (La flûte enchantée), 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.”