Russian-French Draftsman, Painter, and Printmaker
Marc Chagall's poetic, figurative style made him one of most popular modern artists, while his long life and varied output made him one of the most internationally recognized. While many of his peers pursued ambitious experiments that led often to abstraction, Chagall's distinction lies in his steady faith in the power of figurative art, one that he maintained despite absorbing ideas from Fauvism and Cubism. Born in Russia, Chagall moved to France in 1910 and became a prominent figure within the so-called École de Paris. Later he spent time in the United States and the Middle East, travels which reaffirmed his self-image as an archetypal "wandering Jew."
“Lines, angles, triangles, squares, carried me far away to enchanting horizons,” Chagall said of his childhood, and, as a young artist in Paris, he used those lines and geometric angles to imaginatively return to that Russian village life in his fantastic creations.
This early work clearly shows both the Cubist and Fauvist influences at play in Chagall's canvas, yet unlike the works of Picasso or Matisse, Chagall is far more playful and liberal with decorative elements, creating a pastoral paradise out of the Russian countryside. It is an early sign of the approach that would make the artist famous and influential: a blend of the modern and the figurative, with a light, whimsical tone. Chagall depicts a fairy tale in which a cow dreams of a milk maid and a man and wife (one upright, one upside down) frolic in the work fields. Abstraction is at the heart of this work, but it exists to decorate the picture rather than invite analysis of the images.
Paris Through the Window appears to reflect upon Chagall's feeling of divided loyalties - his love both for modern Paris and for the older patterns of life back in Russia. Hence the figure in the bottom right looks both ways, and the couple below the Eiffel Tower seems to be split apart. Upon first glance, the picture may recall one of Robert Delaunay's many fractured portraits of the Eiffel Tower, rendered in a style often referred to as Orphic Cubism. But Chagall makes no attempt here to dissect the subject or view it from multiple angles. Instead he searches for beauty in the details, creating what writer Guillaume Apollinaire called "sur-naturalist" elements, such as a two-faced head and floating human figure. The end result is a brilliantly balanced and visually appealing snapshot of Paris, juxtaposing the imaginary and the real, all seen through eyes that are both eccentric and loving.
This portrait of Chagall's first wife, Bella, whom he married in the summer of 1915, also doubles as a love letter of sorts. Her demure face and figure stand over a lush pastoral landscape, larger than life, and may have been inspired by the traditional subject, The Assumption of the Virgin Mary. Chagall once remarked that, "Only love interests me, and I am only in contact with things that revolve around love." Bella with White Collar, while certainly expressive and vibrant, stands as a lasting example of Chagall's mastery of more traditional subjects and forms, yet he no less maintains the faintest of sur-naturalist elements throughout. At Bella's feet we can see two tiny figures which presumably represent Chagall and the couple's daughter, Ida.
Content compiled and written by Justin Wolf
Edited and published by The Art Story Contributors
