Marc Chagall

Pierre Matisse Gallery, New York (acquired in 1938)
Daniel Malingue, Paris
Private Collection
Wally Findlay Galleries, New York
Acquired from the above

Franz Meyer, Marc Chagall, New York, 1964, no. 565, illustrated n.p.

In very good condition. The surface is slightly dirty. The rich surface impasto is very well maintained. Under U.V, no inpainting is apparent. A few hairline cracks in the thickest blue pigment left of the figure. One tiny pin head size spot of pigment loss in figure’s polka dotted costume (lower right).
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The subject of the circus first appeared in Chagall's work in 1927, in a series of gouaches entitled Cirque Volard, which were inspired by the artist's visits to the Cirque d'Hiver in Paris. The subject remained a leitmotiv throughout the artist's work, and appeared frequently in his paintings, particularly at times fulfilled by personal happiness. In the present work this mood is achieved through bright, energetic colors and the cheerful, towering display of the central figure atop an "obstinate" horse.

Chagall himself commented on the theme of the circus in his work: "For me a circus is a magic show which appears and disappears like a world. A circus is disturbing, it is profound... It is a magic word, circus, a timeless game where tears and smiles, the play of arms and legs take the form of great art... These clowns, bareback riders and acrobats have made themselves at home in my visions. Why? Why am I so touched by their make-up and their grimaces? With them I can move toward new horizons. Lured by their colours and make-up, I dream of painting new psychic distortions... The circus seems to me like the most tragic show on earth... I would like to go up to that bareback rider who has just reappeared, smiling; her dress, a bouquet of flowers. I would circle her with my flowered and unflowered years. On my knees, I would tell her wishes and dreams, not of this world" (Marc Chagall, Le Cirque (exhibition catalogue), Pierre Matisse Gallery, New York, 1981).

In the present work, Chagall focuses his attention on depicting the overall mood of the circus scene through iconic symbols such as the violin and bouquet, as well as pictorial elements of color and form, achieving a lively and highly colored composition which expresses his timeless game of life, art and masquerade.

Fig. 1 Ilse Bing, Circus Acrobat with Ball, 1936, silver gelatin print