.jpg?w=1)
拍品專文
The Comité Chagall has confirmed the authenticity of this painting.
Chagall had from the outset established himself as a colourist, but it was not until the latter part of his life that colour achieved its full radiance in his work, brought about in no small part by his moving to Vence in the South of France on his return to Europe in 1949; '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 colour dominates more and more with the passing of the years' (F. Meyer, op cit., p. 519). Chagall had also travelled with Vava to Greece in 1952, prompted by Tériade's commissioning a series of lithographs on the subject of Daphnis and Chloé. Greece had a profound effect on Chagall and he returned for an extended stay two years later. Colour in Chagall's work was beginning to become a compositional element in its own right, defining the motif as much as describing it. 'Sometimes flowers are the source of light that illuminates the entire picture, as the sunflowers with the warm, radiant yellow in the cool gray of the work to which they give their name (Meyer no. 920) and the round bouquet with its intense colour in the dark red of Vava's portrait (Meyer no. 949). This illumination by flowers is really the theme of Green Horse of 1956. Here the young man is virtually a bowl for the bright orange-red bouquet in the center of the cloudy white area it irradiates, and from which only the blue and green of the other figures emerge' (op. cit., p. 552).
Chagall had from the outset established himself as a colourist, but it was not until the latter part of his life that colour achieved its full radiance in his work, brought about in no small part by his moving to Vence in the South of France on his return to Europe in 1949; '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 colour dominates more and more with the passing of the years' (F. Meyer, op cit., p. 519). Chagall had also travelled with Vava to Greece in 1952, prompted by Tériade's commissioning a series of lithographs on the subject of Daphnis and Chloé. Greece had a profound effect on Chagall and he returned for an extended stay two years later. Colour in Chagall's work was beginning to become a compositional element in its own right, defining the motif as much as describing it. 'Sometimes flowers are the source of light that illuminates the entire picture, as the sunflowers with the warm, radiant yellow in the cool gray of the work to which they give their name (Meyer no. 920) and the round bouquet with its intense colour in the dark red of Vava's portrait (Meyer no. 949). This illumination by flowers is really the theme of Green Horse of 1956. Here the young man is virtually a bowl for the bright orange-red bouquet in the center of the cloudy white area it irradiates, and from which only the blue and green of the other figures emerge' (op. cit., p. 552).