The subject of colorful bouquets of flowers captivated Chagall since the late 1920s, and indeed it is a theme he explored seemingly without end in his oeuvre. In 1924, while in Toulon in the South of France, the artist first began to admire the charm of flowers; he later claimed that he had not known of flowers in Russia, and they came to represent France for him. Writing about the subject of flowers in Chagall’s work, Franz Meyer comments, "Many are simple still lifes with a bunch of red roses and white lilacs; in others, pairs of lovers and air-borne fiddlers gambol through space. The atmosphere encompasses and pervades the flowers like a magically light airy fluid, vibrant with their vitality" (Franz Meyer, Marc Chagall, New York, 1963, p. 369). Bouquet avec les amoureux à Saint-Jean-Cap-Ferrat fleurs is a quintessential example of how Chagall has allowed his imagination to govern the paintbrush, presenting the viewer with various uses of iconography romanticizing different facets of his lifetime.
The journalist Alexander Liberman, who visited Chagall in the late 1950s, eloquently described the complexity and intimacy of Chagall's paintings: "Like a human being, a Chagall painting reveals its rich complexity only if one has lived with it and in it, in the way the artist has during its creation. One must look at his paintings closely to experience their full power. After the impact of the overall effect, there is the joy of the close-up discovery. In this intimate scrutiny, the slightest variation takes on immense importance. We cannot concentrate for a long time; our senses tire quickly and we need, after moments of intense stimulation, periods of rest. Chagall understands this visual secret better than most painters; he draws our interest into a corner where minute details hold it, and when we tire of that, we rest, floating in a space of color, until the eye lands on a new small island of quivering life" (Alexander Liberman, "The Artist in His Studio," 1958, reprinted in Jacob Baal-Teshuva, Chagall: A Retrospective, New York, 1995, p. 337).
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