拍品專文
The Comité Marc Chagall has confirmed the authenticity of this work.
Bouquet d'oeillets aux amoureux en vert is typical of Chagall's work from the 1950s. It is a full bouquet of brilliant and vibrant color which seems to spring from a viridian ground. The flowers are flanked by two of Chagall's beloved symbols, the cock and young lovers. The theme of the affianced pair, the bride and groom, or the newlywed couple, is the most frequent subject in Chagall's paintings. There are many variants on this theme, and as befitting the mysteries of human love, and so characteristic of Chagall's work generally, there is rarely a straight-forward or clearly logical narrative behind these paintings. Time has been compressed, and events seem to take place in the haze of memories or dreams.
The present work was painted when Chagall had just moved to Vence, a medieval town on the Côte d'Azur which had emerged as a thriving artistic center since the war. The years after Chagall settled into the halcyon rhythms of life in southern France were, in his words, "a bouquet of roses" (quoted in S. Alexander, Marc Chagall: A Biography, New York, 1978, p. 492). He lived in a house called "Les Collines" on the slope of the Baou des Blancs until 1966. Commenting on this period, Franz Meyer states, "Chagall's new sojourn in the south exerted a decisive influence on his art. The light, the vegetation, the rhythm of life all contributed to the rise of a more relaxed, airy sensuous style in which the magic of color dominates more and more with the passing of the years. At Vence he witnessed the daily miracle of growth and blossoming in the mild, strong all-pervading light--an experience in which earth and matter had their place" (in Marc Chagall, London, 1964, p. 519).
Bouquet d'oeillets aux amoureux en vert is typical of Chagall's work from the 1950s. It is a full bouquet of brilliant and vibrant color which seems to spring from a viridian ground. The flowers are flanked by two of Chagall's beloved symbols, the cock and young lovers. The theme of the affianced pair, the bride and groom, or the newlywed couple, is the most frequent subject in Chagall's paintings. There are many variants on this theme, and as befitting the mysteries of human love, and so characteristic of Chagall's work generally, there is rarely a straight-forward or clearly logical narrative behind these paintings. Time has been compressed, and events seem to take place in the haze of memories or dreams.
The present work was painted when Chagall had just moved to Vence, a medieval town on the Côte d'Azur which had emerged as a thriving artistic center since the war. The years after Chagall settled into the halcyon rhythms of life in southern France were, in his words, "a bouquet of roses" (quoted in S. Alexander, Marc Chagall: A Biography, New York, 1978, p. 492). He lived in a house called "Les Collines" on the slope of the Baou des Blancs until 1966. Commenting on this period, Franz Meyer states, "Chagall's new sojourn in the south exerted a decisive influence on his art. The light, the vegetation, the rhythm of life all contributed to the rise of a more relaxed, airy sensuous style in which the magic of color dominates more and more with the passing of the years. At Vence he witnessed the daily miracle of growth and blossoming in the mild, strong all-pervading light--an experience in which earth and matter had their place" (in Marc Chagall, London, 1964, p. 519).