Marc Chagall Life and Work by Franz Meyer
By Franz Meyer
Marc Chagall is understood mainly as a painter of fable, however the paintings of this septuagenarian defies class. His fantasies of fanatics floating on air, of marriage ceremony bouquets towering above the skyline, of scenes recalled from his local Vitebsk in Russia, of opsy-turvy homes and church buildings, of fiddlers and aerial clocks— those are Chagalls pictures which are loved via his ever-growing public. yet Chagall, although thoroughly at domestic in Cubism, Surrealism, and Expressionism, hasn't ever belonged to any tuition except it's the varsity of Paris, within the urban the place he has usually lived and the place a few of his maximum paintings has been entire.
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An artist is tied to his mother's apron strings, humanly and formally obsessed by her closeness. " Chagall attended the He remembers cheder, the Jewish elementary school, for seven or eight years. rabbi from Mogilev, who looked had run away from a circus," Rabbi Ohre, and Rabbi Djatkine. 10 Unlike the other two, the latter was a very capable teacher, a man of vast culture with broad, modern views. He had "no beard," Chagall insists. He liked the boy and kept him beyond the agreed time without demanding a fee.
Study he did received at last the Except for continued to his trips to he returned after three months' absence, the approval he so desperately longed Vitebsk and the months he spent at work with Bakst until first for. home there, Chagall summer, 1910. In that school he came into contact with various intellectual spheres of influence. symbolism, which had dominated art and literature toward the end of the was still very much alive. The Svanseva School had developed from circles which were closely linked with this sphere.
On the faces, the ornamental motifs on the which has nothing to do with the realistic character of the painting. A host of little dots and dashes seems to wander through the picture. The result is an agitation that counteracts the compact weight of the realistic representation. That is why Old Man and Woman with Basket lack the exuberantly realistic character of all Russian models. Everything in them seems frail and transparent, resigned to the sharply hatched shadows, the wrinkles woman's shawl, have a vitality other, stronger reality Chagall always sensed behind things.