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拍品专文
The Comité Marc Chagall has confirmed the authenticity of this work.
`To see the world through bouquets! Huge, monstrous bouquets in ringing profusion, haunting brilliance. Were we to see [Chagall] only through these abundances gathered at random from gardens... and naturally balanced, we could wish for no more precious joy!’
(E. Tériade, "Chagall and Romantic Painting", in J. Baal-Teshuva, ed., Chagall: A Retrospective, New York, 1995, p. 136).
Lilas sur Vence was created at a time of intense personal happiness for Marc Chagall, reflected through its exuberant, romantic, dream-like imagery. The theme of lovers was one that had recurred through his pictures, lending them a sense of romance that was itself informed by his own life; his love for his first wife Bella, whose death resulted in many works which projected their ultimate reunion in the afterlife, or for Vava, who he married two years prior to the creation of this painting, in 1952. For Chagall, love and beauty were powerful elements, forces that could only bring more harmony to a world that, during his lifetime, appeared in need of it. Explaining his dedication to this cause and his hope that, by devoting himself to it, he would be able to spread those feelings, he said, 'I thought that only love and uncalculating devotion towards others will lead to the greatest harmony in life and in art of which humanity has been dreaming so long. And this must, of course, be included in each utterance, in each brushstroke, and in each colour' (Chagall, quoted in Chagall: A Retrospective, ed. J. Baal-Teshuva, Westport, 1995, p. 208).
True to his word, Chagall treated the theme of young lovers– the affianced pair, the bride and groom, or the newlywed couple, who have abandoned themselves to love and to each other–more frequently than any other subject. There are many variants on this theme, and as befitting the mysteries of human emotion, and so characteristic of Chagall’s marvellously inventive, dream-like pictorial universe, there is rarely a straightforward or clearly logical narrative behind these paintings. Instead, they are filled with recurring symbols, such as figures of the present and echoes of the past, the towns where he lives or has lived, the sun or moon referencing the passage of time, the lovers and the bouquet, appealing to all senses and evoking a sensual whole of is interior world that lives simultaneously in the past and present, synthesising the emotions of love and loss.
Chagall often used flowers as a symbol of romantic love in his paintings, incorporating the motif in his compositions in order to evoke the intense feelings of passion and love that absorbed him. As James Johnson Sweeney has noted, “It was in Toulon in 1924, Chagall recalls, that the charm of French flowers first struck him. He claims that he had not known bouquets of flowers in Russia...He said that when he painted a bouquet it was as if he was painting a landscape. It represented France to him. But the discovery was also a logical one in the light of the change taking place in his vision and pictorial interests. Flowers, especially mixed bouquets of tiny blossoms, other a variety of delicate colour combinations and a fund of texture contrasts which were beginning to hold Chagall’s attention more and more” (Marc Chagall, New York, 1946, p. 56).
The flowers of Lilas sur Vence have been painted by Chagall with an absolute mastery of the paint surface, seemingly bringing to life each petal of the roses crowning the arrangement and the abundant, bushy lilacs and luscious leaves beneath. This flourishing, sensual bouquet speaks to his newfound happiness with Vava, settled together in the town of Vence within the natural Mediterranean beauty of the Côte d'Azur where he would reside with great creative and personal joy until his death in 1985.
`To see the world through bouquets! Huge, monstrous bouquets in ringing profusion, haunting brilliance. Were we to see [Chagall] only through these abundances gathered at random from gardens... and naturally balanced, we could wish for no more precious joy!’
(E. Tériade, "Chagall and Romantic Painting", in J. Baal-Teshuva, ed., Chagall: A Retrospective, New York, 1995, p. 136).
Lilas sur Vence was created at a time of intense personal happiness for Marc Chagall, reflected through its exuberant, romantic, dream-like imagery. The theme of lovers was one that had recurred through his pictures, lending them a sense of romance that was itself informed by his own life; his love for his first wife Bella, whose death resulted in many works which projected their ultimate reunion in the afterlife, or for Vava, who he married two years prior to the creation of this painting, in 1952. For Chagall, love and beauty were powerful elements, forces that could only bring more harmony to a world that, during his lifetime, appeared in need of it. Explaining his dedication to this cause and his hope that, by devoting himself to it, he would be able to spread those feelings, he said, 'I thought that only love and uncalculating devotion towards others will lead to the greatest harmony in life and in art of which humanity has been dreaming so long. And this must, of course, be included in each utterance, in each brushstroke, and in each colour' (Chagall, quoted in Chagall: A Retrospective, ed. J. Baal-Teshuva, Westport, 1995, p. 208).
True to his word, Chagall treated the theme of young lovers– the affianced pair, the bride and groom, or the newlywed couple, who have abandoned themselves to love and to each other–more frequently than any other subject. There are many variants on this theme, and as befitting the mysteries of human emotion, and so characteristic of Chagall’s marvellously inventive, dream-like pictorial universe, there is rarely a straightforward or clearly logical narrative behind these paintings. Instead, they are filled with recurring symbols, such as figures of the present and echoes of the past, the towns where he lives or has lived, the sun or moon referencing the passage of time, the lovers and the bouquet, appealing to all senses and evoking a sensual whole of is interior world that lives simultaneously in the past and present, synthesising the emotions of love and loss.
Chagall often used flowers as a symbol of romantic love in his paintings, incorporating the motif in his compositions in order to evoke the intense feelings of passion and love that absorbed him. As James Johnson Sweeney has noted, “It was in Toulon in 1924, Chagall recalls, that the charm of French flowers first struck him. He claims that he had not known bouquets of flowers in Russia...He said that when he painted a bouquet it was as if he was painting a landscape. It represented France to him. But the discovery was also a logical one in the light of the change taking place in his vision and pictorial interests. Flowers, especially mixed bouquets of tiny blossoms, other a variety of delicate colour combinations and a fund of texture contrasts which were beginning to hold Chagall’s attention more and more” (Marc Chagall, New York, 1946, p. 56).
The flowers of Lilas sur Vence have been painted by Chagall with an absolute mastery of the paint surface, seemingly bringing to life each petal of the roses crowning the arrangement and the abundant, bushy lilacs and luscious leaves beneath. This flourishing, sensual bouquet speaks to his newfound happiness with Vava, settled together in the town of Vence within the natural Mediterranean beauty of the Côte d'Azur where he would reside with great creative and personal joy until his death in 1985.