The journalist Alexander Liberman eloquently described the intricacy of Chagall's later works such as La Fête du peintre: ‘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 (exhibition catalogue), New York, 1995, p. 337).
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