- 31
馬克·夏加爾
描述
- 馬克·夏加爾
- 《畫架前的畫家》
- 款識:畫家簽名 Marc Chagall(背面)
- 油彩、彩墨、印度墨畫布
- 33 x 20 1/8 英寸
- 83.8 by 74 cm.
來源
Private Collection, France (acquired from the above)
Acquired from the above by the present owner
Condition
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
The present work is an especially poignant depiction of Chagall and his wife Bella, who had died just months before the artist painted this picture. Begun during his mourning period while he was living in New York in 1945 and finished nearly two decades later when the artist had returned to France, Chagal painted himself rendering a depiction of a bride and groom. This vibrant composition is a heart-felt commemoration of the artist's own beloved bride, who would always be present with him in his art.
The photographer Alexander Liberman provided the following analysis of the lovers in Chagall's paintings, and his description beautifully captures the spirit of the present work :" The lovers in Chagall paintings, closely, magnetically, protectively tied to each other, create a new entity and live oblivious to the surrounding hostile to the tumult of the outside world. This privacy demands its own landscape, and in his paintings bouquets are the couches and bowers for his lovers. 'Love is the strongest possible illumination," Chagall said. 'Love is poetry, too.... We are love, we are made of love. How can we live otherwise?'" (A. Liberman, The Artist in His Studio, New York, 1988, p. 167).