Marc Chagall, Plate 2, from De Mauvais Sujets (Bad Elements), 1958
Signed Marc Chagall Color Etching and Aquatint on Japon Nacr é Paper, Plate 2, from De Mauvais Sujets (Bad Elements), 1958
|Artist:||Marc Chagall (1887 - 1985)|
|Title:||Plate 2, from De Mauvais Sujets (Bad Elements), 1958|
|Medium:||Color Etching and Aquatint on Japon Nacr é Paper|
|Image Size:||13 3/8 in x 10 3/8 in (33.9 cm x 26.35 cm)|
|Sheet Size:||24 7/8 in x 18 3/8 in (63.2 cm x 46.7 cm)|
|Framed Size:||approx. 35 in x 29 in (88.9 cm x 73.6 cm)|
|Edition:||Numbered from the signed edition of 19 in pencil in the lower left margin (aside from the unsigned edition of 153 on Arches) printed by Fequet et Baudier and published by Les Bibliophiles de l’Union Française.|
|Signature:||This work is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Marc Chagall’s Plate 2, from De Mauvais Sujets (Bad Elements), 1958 is an unforgettable artwork. Offering an image of uninhibited expression and jubilation, Chagall uses both color and form to create a sense of exhilaration and flight. This work is one of ten illustrations created to accompany the text entitled de Mauvais Sujets by Jean Paulhan. Regarding the book, Charles Sorlier stated, “when the book was published, it was distributed among the members of a bibliographic society and was not put onto the market. Consequently, it has become a collector’s piece of considerable value” (Sorlier, 82).
Flying through the air with arms flung to the side, the central figure appears with glistening blond hair and a delicate smile. Holding a pen in one hand and a book or notebook in the other, this image represents the freedom experienced through the activity of self-expression, be it through the use of the written word or the manipulation of the engraved plate. Chagall combines delicate etched lines and bold brush strokes to create a textured image that conveys a sense of exuberant execution.
Created in 1958, this color etching and aquatint is hand-signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin. Numbered from the signed edition of 19 in pencil in the lower left margin (aside from the unsigned edition of 153 on Arches) printed by Fequet et Baudier and published by Les Bibliophiles de l’Union Française.
Catalogue Raisonné & COA:
Marc Chagall Plate 2 from Bad Elements (De Mauvais Sujets), 1958 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 final sale of the work).
1) Cramer, Patrick, Marc Chagall The Illustrated Books: Catalogue Raisonné, 1995, listed and illustrated as catalogue raisonné no. 35.
2) Kornfeld, Eberhard W., Catalogue raisonné de l’oeuvre gravé, 1971, listed and illustrated as catalogue raisonné no. 107.
3) Sorlier, Charles, Marc Chagall The Illustrated Books, 1990, listed on page 82.
4) A Certificate of Authenticity will accompany this artwork.
ABOUT THE FRAMING:
Framed to archival, museum grade conservation Marc Chagall Plate 2 from Bad Elements (De Mauvais Sujets), 1958 is framed in a complementary moulding with silk 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.”