In the late 1920s Chagall first engaged with what would become a prevailing motif within his practice, colourful bouquets of flowers. Whilst in Toulon in 1924 the artist was captivated by the subject which came to symbolise desire and love, later claiming that he had not known flowers in Russia and that to him they were emblematic of France. Musing on the magical aura conjured by this motif throughout the artist’s opus, Franz Meyer notes, ‘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). Spanning the height of the sheet, the floral motif is exemplary of Chagall’s masterly ability to harmonise tone and colour. An expressive evocation of fantasy, the present work conveys a magical sensation and reflects Chagall's abandon to the joy of creation.
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