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拍品专文
The Comité Marc Chagall has confirmed the authenticity of this painting.
In 1922, Marc Chagall left his native Russia for good. After a brief period spent in Berlin, the artist settled in Paris in 1923, with his wife Bella and his seven-year-old daughter Ida. As Susan Compton has noted in Marc Chagall: My Life - My Dream: Berlin and Paris, 1922-1940, "Chagall was determined to return to Paris, the artistic capital of Europe, where he had already spent four years from 1910 to 1914" (Munich, 1990, pp. 15-16). In Paris, commissions from the dealer Ambroise Vollard to illustrate Nikolai Gogol's Dead Souls and the Fables of La Fontaine helped to establish Chagall's reputation among his Paris school contemporaries which include Amedeo Modigliani and Moïse Kisling. Success in the city allowed the artist to travel with his family throughout France, and 'during the years up to 1930 he never missed an opportunity of going into the country. His experience of the landscape of France, with its plenitude of light and the marvelous nuances of color radiating through a fine gray mist, changed his painting' (W. Haftmann, Marc Chagall, New York, 1973, p. 22).
In the mid- to late-1920s, Chagall traveled to Normandy and Brittany, to the Pontoise of Paul Cézanne and Camille Pissarro, and to spa towns like Cételguyon, where in 1927 'he met his compatriot Chaïm Soutine' (Compton, op. cit., p. 21). The present work bears the influence of the French countryside's radiant light and resplendent colour. But rather than painting en plein air, as his Impressionist forerunners in the region had done, Chagall more often stayed indoors, painting the view through the frame of his window.
The window is a recurring motif in Chagall's oeuvre, both as a compositional device and a metaphorical symbol. In the present work, the window frame occupies the left side of the canvas, virtually cutting the picture in half. The eight panes of the window further break down the composition, dividing this half into eight smaller segments. That two of these panels are obscured by the blooming bouquet only heightens the tension between the interior and exterior realms that are depicted. Chagall is on the inside, looking out, and the viewer is in the privileged position of sharing his perspective. Symbolically, the window creates a fluid boundary between the real and the imaginary, the flowering present and the fading past. In this way, the town on the other side of this window can read as Vitebsk, the village of Chagall's homeland, and his memory.
In 1922, Marc Chagall left his native Russia for good. After a brief period spent in Berlin, the artist settled in Paris in 1923, with his wife Bella and his seven-year-old daughter Ida. As Susan Compton has noted in Marc Chagall: My Life - My Dream: Berlin and Paris, 1922-1940, "Chagall was determined to return to Paris, the artistic capital of Europe, where he had already spent four years from 1910 to 1914" (Munich, 1990, pp. 15-16). In Paris, commissions from the dealer Ambroise Vollard to illustrate Nikolai Gogol's Dead Souls and the Fables of La Fontaine helped to establish Chagall's reputation among his Paris school contemporaries which include Amedeo Modigliani and Moïse Kisling. Success in the city allowed the artist to travel with his family throughout France, and 'during the years up to 1930 he never missed an opportunity of going into the country. His experience of the landscape of France, with its plenitude of light and the marvelous nuances of color radiating through a fine gray mist, changed his painting' (W. Haftmann, Marc Chagall, New York, 1973, p. 22).
In the mid- to late-1920s, Chagall traveled to Normandy and Brittany, to the Pontoise of Paul Cézanne and Camille Pissarro, and to spa towns like Cételguyon, where in 1927 'he met his compatriot Chaïm Soutine' (Compton, op. cit., p. 21). The present work bears the influence of the French countryside's radiant light and resplendent colour. But rather than painting en plein air, as his Impressionist forerunners in the region had done, Chagall more often stayed indoors, painting the view through the frame of his window.
The window is a recurring motif in Chagall's oeuvre, both as a compositional device and a metaphorical symbol. In the present work, the window frame occupies the left side of the canvas, virtually cutting the picture in half. The eight panes of the window further break down the composition, dividing this half into eight smaller segments. That two of these panels are obscured by the blooming bouquet only heightens the tension between the interior and exterior realms that are depicted. Chagall is on the inside, looking out, and the viewer is in the privileged position of sharing his perspective. Symbolically, the window creates a fluid boundary between the real and the imaginary, the flowering present and the fading past. In this way, the town on the other side of this window can read as Vitebsk, the village of Chagall's homeland, and his memory.