Marc Chagall

Otto Preminger (acquired by 1963)
Mrs Otto Preminger (by descent from the above; sale: Christie's, New York, 9th November 2006, lot 124)
Purchased at the above sale by the present owner

Franz Meyer, Marc Chagall: Life and Work, New York, 1963, no. 970, illustrated p. 762

Executed on cream wove paper, laid down on paper, laid down on canvas, T-hinged to the mount at the top two corners. There is some retouching to the lower and left extreme edges, due to the laying down process, visible under UV light. Otherwise, apart from a tiny speck of paper loss to the lower left edge, this work is in very good condition. Colours: Overall accurate in the catalogue illustration, although brighter in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

From his childhood in Vitebsk, Chagall was drawn to the fantasy of the circus. The theme permeates his oeuvre, including a series of gouaches produced in 1927 for the legendary art dealer Ambroise Vollard. Chagall continued painting circus themes throughout his career, and in later years the circus theme would increasingly become a way for Chagall to express psychological tension. The visionary and transcendental aspects of the circus continued to inspire him, as he himself commented, 'it is a magic word, circus, a timeless dancing game where tears and smiles, the play of arms and legs take the form of great art' ( the artist quoted in Le Cirque (exhibition catalogue), Pierre Matisse Gallery, New York, 1981, n.p.).

The present work displays a vibrant composition that vividly evokes the fantasy, energy and beauty of the circus that Chagall found so enchanting. The multi-planar surface is crowded with dancers, musicians and acrobats, figures that represent the elegance and ability of the performers. The excitement of the audience is symbolised by the vivid, hovering red eye that seeks to take in the spectacle. A town lies in the background, suggesting the transitory nature of the always-evolving travelling circus, though very reminescnet of Chagall's hometown of Vitebsk. The lively brushwork and textured layering of gouache and pastel over brush and ink creates a sense of movement and energy. This excitement is in contrast to the overriding blue tonality that simultaneously seems to quieten and harmonise the scene. The result is a dream-like setting where time, action and vision are fluid.

In the centre, a two-headed clown – half donkey, half man – holds a bouquet and gazes adoringly at the graceful dancer. It is this emotion which Lionello Venturi admired: 'Chagall's images of circus people [...] are at once burlesque and tender. Their perspective of sentiment, their fantastic forms, suggest that the painter is amusing himself in a freer mood than usual; and the result is eloquent of the unmistakeable purity flowing from Chagall's heart. These circus scenes are mature realisations of earlier dreams' (Marc Chagall, New York, 1945, p. 39).