Marc Chagall, Vers l’Autre Clarte (Towards Another Light), 1985
|Artist:||Marc Chagall (1887 - 1985)|
|Title:||Vers l’Autre Clarte (Towards Another Light), 1985|
|Medium:||Color lithograph on Rives paper|
|Image Size:||17 1/4 in x 13 1/4 in (43.8 cm x 33.7 cm)|
|Sheet Size:||24 3/4 in x 18 7/8 in (62.9 cm x 47.9 cm)|
|Framed Size:||approx. 36 3/4 in x 30 7/8 in (93.3 cm x 78.4 cm)|
|Edition:||Numbered from the edition of 500 in pencil in the lower left; another edition of 1000 was printed on Arches wove paper|
|Signature:||This work is stamped with the of signature of Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in the lower right, and the dry mark Lithographie originale Atelier Marc Chagall in the lower left|
|Condition:||This work is in excellent condition|
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Historical Description of this artwork
Marc Chagall Vers l’Autre Clarte (Towards Another Light), 1985 is the last color lithograph that Chagall completed before his death. The work is shrouded in a delicate and vibrant blue, permeating all of the figures. Alterations in the shade allow for certain areas of the work to be highlighted. A winged artist sits at his easel, painting two lovers with a bouquet of flowers. Are we to suppose that this painter is Chagall himself? The subject matter certainly seems Chagall-esque. Floating above the painter and lightly touching his head is another winged person, perhaps it is a muse bestowing the painterly power onto the artist as he contemplates his canvas. There is romanticism in the air, as the painting explores the influence of muses in the artist process.
Created in 1985, this color lithograph on Rives paper is stamped with the signature of of Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in the lower right, and the dry mark Lithographie originale Atelier Marc Chagall in the lower left; numbered from the edition 500 set aside for the benefactors of the Society of Friends of the Musée Message Biblique Marc Chagall in Nice; there was another edition numbered from 1000 on Arches wove paper. This original Chagall lithograph was completed during Chagall’s lifetime, however, the edition was stamp signed posthumously as documented by Charles Sorlier.
Catalogue Raisonné & COA:
Marc Chagall Towards Another Light (Vers l’Autre Clarte), 1985 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. Gauss, Ulrike. Marc Chagall: The Lithographs. New York: Distributed Art Publishers, 1960. Listed and illustrated as catalogue raisonné no. 1050 on pg. 382.
2. Mourlot, Fernand & Sorlier, C.,The Lithographs of Chagall, Vol. VI 1980 – 1985. New York: Crown Publishers, Inc,1986. Listed and illustrated as catalogue raisonné no. 1050.
3. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Marc Chagall Towards Another Light (Vers l’Autre Clarte), 1985 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.”