拍品 31
  • 31

馬克·夏加爾

估價
2,000,000 - 3,000,000 USD
招標截止

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

來源

Estate of the artist

Private Collection, France (acquired from the above)

Acquired from the above by the present owner

拍品資料及來源

Amongst the towering artists of the twentieth century, Marc Chagall was the painter for whom self-portraiture figured most prominently in his body of work.  This genre had been popular since the early Renaissance, when artists such as Botticelli and Michelangelo inserted themselves into scenes populated by multiple figures.   For Chagall, self-portraiture was a means with which to probe his identity as a lover, a Russian, a Jew,  and an artist.  The pictures into which he incorporated his own image were personal expressions of the joy and suffering he experienced throughout his life. 

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).

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