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拍品專文
Marc Chagall first began to create tapestries in the early 1960s. Collaborating with the famed Parisian firm Manufacture Nationale des Gobelins, Chagall produced the triptych Isaiah's Prophecy, Exodus and Entry into Jerusalem to decorate the reception hall of the Israeli parliament, the Knesset. The works were met with high acclaim, and Chagall decided to continue to produce works in this medium.
In 1964, Chagall became acquainted with Yvette Cauquil-Prince, whose weaving atelier had already been working with many of Chagall's contemporaries--Max Ernst, Fernand Léger, Pablo Picasso, Georges Braque, Paul Klee, Wassily Kandinsky and Alexander Calder--to translate their work into tapestries. According to Jacob Baal-Teshuva, "Chagall was very taken with the quality of her work, and from then on had his tapestry designs executed in her studio. From existing lithographs, gouaches and other media she made 24 highly acclaimed tapestries on Biblical themes, the circus, and other Chagall subjects (op. cit., pp. 231-232).
The present work was produced after the 1964 painting of the same name currently in the Fondation Maeght in Saint-Paul-de-Vence.
In 1964, Chagall became acquainted with Yvette Cauquil-Prince, whose weaving atelier had already been working with many of Chagall's contemporaries--Max Ernst, Fernand Léger, Pablo Picasso, Georges Braque, Paul Klee, Wassily Kandinsky and Alexander Calder--to translate their work into tapestries. According to Jacob Baal-Teshuva, "Chagall was very taken with the quality of her work, and from then on had his tapestry designs executed in her studio. From existing lithographs, gouaches and other media she made 24 highly acclaimed tapestries on Biblical themes, the circus, and other Chagall subjects (op. cit., pp. 231-232).
The present work was produced after the 1964 painting of the same name currently in the Fondation Maeght in Saint-Paul-de-Vence.