Marc Chagall, Offrande à la Tour Eiffel (Tribute to the Eiffel Tower), 1964
Signed Marc Chagall lithograph, Offrande à la Tour Eiffel (Tribute to the Eiffel Tower), 1964
|Artist:||Marc Chagall (1887 - 1985)|
|Title:||Offrande à la Tour Eiffel (Tribute to the Eiffel Tower), 1964|
|Medium:||Original Color Lithograph|
|Image Size:||25 1/2 in 19 1/8 in (64.8 cm x 48.6 cm)|
|Sheet Size:||30 in x 21 in (76 cm x 53.5 cm)|
|Framed Size:||41 1/2 in x 34 1/4 in (105.4 cm x 87 cm)|
|Edition:||Numbered from the edition of 50 in pencil in the lower left margin on Vélin d'Arches paper.|
|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 a bold impression with bright colors throughout.|
Item # 4146
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Historical Description of this artwork
Paris, the city for lovers and dreamers alike, has been an inspiration to artists for centuries and Chagall is perhaps one of the most well-known. The beauty of Chagall Offrande à la Tour Eiffel (Tribute to the Eiffel Tower), 1964 speaks for itself in the mastery of color and form as it all blends together effortlessly in a touching scene with the Eiffel Tower and an offering of a bouquet. The meaning of Paris for Chagall is brilliantly expressed in this work, but even more moving his expression in words:
I left my native land in 1910. At that moment I decided that I needed Paris. I came because I sought the light of Paris, its freedom, its refinement and the skills of the craft. Paris lit up my shadowy world like the sun. But in seeing the light, at the Louvre and elsewhere in France, I did not forget the country where I was born. On the contrary. I saw it more clearly. I could, of course, have expressed myself in the town where I was born. But I wanted to see with my own eyes the things I had heard about so far away that “revolution of the eye,” the colors that blended freely into each other, reflecting the light whilst striving energetically with one another in the flow of a studied or a casually dominant line. The sun of art shone only in Paris. It seemed to me then, as it still does, that there can be no greater revolution of the eye than that I experienced on my arrival in Paris.
Created in 1964, this original color lithograph is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin and numbered from the edition of 50 in pencil in the lower left margin on Vélin d’Arches paper.
Catalogue Raisonné & COA:
Marc Chagall Tribute to the Eiffel Tower (Offrande à la Tour Eiffel), 1964 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. Sorlier, Charles. Chagall Lithographs, Volume III 1962-1968. New York: Crown Publishers, 1986. Listed and illustrated as catalogue raisonné no. 416a on pg. 58.
2. Gauss, Ulrike, ed. Marc Chagall: The Lithographs, La Collection Sorlier, Stuttgart, 1960. Listed and illustrated as catalogue raisonné no. 416a on pg. 194.
3. A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to museum-grade conservation standards, Marc Chagall Tribute to the Eiffel Tower (Offrande à la Tour Eiffel), 1964 is displayed in a complementary moulding and finished with silk-wrapped mats.
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.”