ISBN: 9781780421810

Marc Chagall (Vitebsk, 1887 – Saint-Paul-de-Vence, 1985) Chagall est né dans une famille juive de stricte obédience pour laquelle l’interdit de représentation d… More...

Marc Chagall (Vitebsk, 1887 – Saint-Paul-de-Vence, 1985) Chagall est né dans une famille juive de stricte obédience pour laquelle l’interdit de représentation de la figure humaine avait valeur de dogme. Après un échec à l’examen d’entrée à l’école des Arts et Métiers du baron Stieglitz, Chagall intègre plus tard celle fondée par la Société impériale d’encouragement des Beaux-Arts dirigée par Nicolas Roerich. En 1910, il s’installe à Paris qui sera son «second Vitebsk ». Chagall retrouve à la Ruche de nombreux compatriotes attirés, eux aussi, par le prestige de Paris. Lipchitz, Zadkine, Archipenko, Soutine qui maintiendront, autour du jeune peintre, le parfum de sa terre natale. Les auteurs des premières études sur Chagall relevaient déjà que Paris avait influencé sa manière picturale, avait apporté une nervosité frêle et une netteté aux lignes qui répondent avec assurance et justesse à la couleur et pour beaucoup, la commandent. L’observateur le plus attentif, le plus passionné, se révèle parfois incapable de distinguer le Chagall «de Paris » du Chagall «de Vitebsk ». L’artiste n’est pas contradictoire ni «dédoublé », mais il demeurait constamment ouverts, regardant en lui et autour de lui, considérant le monde environnant, les idées de son époque, les souvenirs du passé. Chagall est doué d’une sorte «d’immunité stylistique », il s’enrichit sans rien détruire de sa propre structure. Il s’enthousiasme, apprend en toute ingénuité, se défait de la maladresse juvénile, mais sans perdre son «authenticité ». Parfois, c’est comme s’il regardait le monde à travers le prisme magique de l’école de Paris. Alors il engage un jeu tout en finesse et en sérieux avec les découvertes du tournant du siècle, alors l’adolescent se considère, ironique et songeur, dans un miroir où s’unissent tout naturellement les acquis picturaux de Cézanne, la spiritualisation fragile de Modigliani, les rythmes complexes des plans qui rappellent les expériences des premiers cubistes (Autoportrait devant le chevalet, 1914). Cependant, au-delà des analyses qui, aujourd’hui, éclairent les sources judéo-russes du peintre, les filiations formelles héritées ou empruntées, mais toujours sublimées, une part de mystère demeure dans l’art de Chagall. Ce mystère tient peut-être à la nature même de cet art qui puise dans le souvenir. Digital Content>E-books>Art,Design & Photography>Artists>Artists, Parkstone International Digital >16<

ISBN: 9781780421810

Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma.A failure in the entrance examination for the Stieglitz S… More...

Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma.A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich.Chagall moved to Paris in 1910. The city was his "second Vitebsk". At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the "smell" of his native land.From his very arrival Chagall wanted to "discover everything". And to his dazzled eyes painting did indeed reveal itself.Even the most attentive and partial observer is at times unable to distinguish the "Parisian", Chagall from the "Vitebskian".The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections.He had an utterly poetical mode of thought that enabled him to pursue such a complex course.Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure.Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris.In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror.Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914).Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art.The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories.Painting truly is life, and perhaps life is painting.; EPUB; Art & Photography > History of art / art & design styles > History of art & design styles: from c 19, Rowman & Littlefield International<

ISBN: 9781780421810

Chagall,Sylvie Forestier Digital Content>E-books>Art,Design & Photography>Artists>Artists, Parkstone International Digital >16

2011, ISBN: 9781780421810

eBooks, eBook Download (PDF), Auflage, [PU: Confidential Concepts], [ED: 1], Confidential Concepts, 2011

2011, ISBN: 9781780421810

eBooks, eBook Download (PDF), Auflage, [PU: Parkstone-International], [ED: 1], Parkstone-International, 2011