.jpg?w=1)
拍品专文
The Comité Marc Chagall has confirmed the authenticity of this painting.
Marc Chagall established himself from the outset as a colorist, but it was not until the latter part of his life that his color achieved its full radiance and plenitude in his work. In his final two decades, using the lessons he had learned while working on several large-scale public commissions for stained glass windows, light and color would become essential elements in Chagall's work in their own right. Tendresse is suffused with radiant pinks and cool blues, which Chagall has complemented with his airy, free handling of pigment. The imagery employed combines some of Chagall's favorite motifs--the lover's embrace flanked by a lush bouquet and brightly rendered animals and celebrant figures.
The theme of the young lovers recurs frequently in Chagall's oeuvre. There are many variants on this theme and, befitting the mysteries of human love as well as Chagall's imaginative renderings, there is rarely any straightforward or logical narrative behind these paintings. Time has been compressed, and events seem to take place in the haze of memories or dreams. Susan Compton writes: "it was a vision of 'real' love, that love which the artist was to share with his wife Bella...this celebration by the lovers is equally fantastic, for their joy has levitated them from the ground. Their faces are real enough, but now their position is imaginary. Yet by this device Chagall has conveyed the magic carpet of human love, borrowed perhaps from the world of folk tale, where the hero and heroine live happily ever after" (Chagall, exh. cat., Royal Academy of Arts, London, 1985, pp. 15-16).
Marc Chagall established himself from the outset as a colorist, but it was not until the latter part of his life that his color achieved its full radiance and plenitude in his work. In his final two decades, using the lessons he had learned while working on several large-scale public commissions for stained glass windows, light and color would become essential elements in Chagall's work in their own right. Tendresse is suffused with radiant pinks and cool blues, which Chagall has complemented with his airy, free handling of pigment. The imagery employed combines some of Chagall's favorite motifs--the lover's embrace flanked by a lush bouquet and brightly rendered animals and celebrant figures.
The theme of the young lovers recurs frequently in Chagall's oeuvre. There are many variants on this theme and, befitting the mysteries of human love as well as Chagall's imaginative renderings, there is rarely any straightforward or logical narrative behind these paintings. Time has been compressed, and events seem to take place in the haze of memories or dreams. Susan Compton writes: "it was a vision of 'real' love, that love which the artist was to share with his wife Bella...this celebration by the lovers is equally fantastic, for their joy has levitated them from the ground. Their faces are real enough, but now their position is imaginary. Yet by this device Chagall has conveyed the magic carpet of human love, borrowed perhaps from the world of folk tale, where the hero and heroine live happily ever after" (Chagall, exh. cat., Royal Academy of Arts, London, 1985, pp. 15-16).