Marc Chagall (French, born Russia – present-day Belarus; 1887-1985): Carmen, 1966. Lithograph. Image size: 39-1/2 x 25-11/16 inches (100.5 x 65.3 cm). Created in 1966 from a maquette for Chagall’s “Triumph of Music,” a series of 3 large-scale decorations created for the Metropolitan Opera House in New York (Carmen, The Magic Flute, Romeo and Juliet). © Marc Chagall.
‘Chagall created this piece for the opera “Carmen” by George Bizet upon its opening at the Metropolitan Opera in New York. The print is a small detail from a preliminary painting of Chagall’s much larger “The Triumph of Music”, which now hangs at the Metropolitan Opera.’
“Chagall: Midsummer Night’s Dreams”
Through January 8, 2017
Carrières de Lumières, Les Baux de Provence, France
“Winter Exhibition 2016”
Until February 15, 2017
Gilden’s Art Gallery, London
Thanks to: #IRequireArt @irequireart #art
Born Moishe Shagal
6 July 1887 (N.S.)
Liozna, near Vitebsk, Russian Empire (present-day Belarus)
Died 28 March 1985 (aged 97)
Nationality Russian, later French
Known for Painting stained glass
Movement : Cubism Expressionism
Marc Zakharovich Chagall (/ʃəˈɡɑːl/ shə-gahl, 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as “the quintessential Jewish artist of the twentieth century” (though Chagall saw his work as “not the dream of one people but of all humanity”). According to art historian Michael J. Lewis, Chagall was considered to be “the last survivor of the first generation of European modernists”. For decades, he “had also been respected as the world’s preeminent Jewish artist”. Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country’s most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism’s “golden age” in Paris, where “he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism.” Yet throughout these phases of his style “he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk.”
“When Matisse dies,” Pablo Picasso remarked in the 1950s, “Chagall will be the only painter left who understands what colour really is.”