Marc Chagall

Marc Chagall

Victoria Charles

Language: English

Pages: 161

ISBN: 0815001614

Format: PDF / Kindle (mobi) / ePub

Upon his return to Germany in 1921, Kandinsky developed his theory of the Science of Art in his book Concerning the Spiritual in Art in Weimar. The Bauhaus Period is the time of Kandinsky’s most intense production when his genius would become better known to the world. This book allows us to discern the richness of Kandinsky’s work through numerous canvases that have contributed to his international prestige as a painter.

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St. Petersburg. 54 Soukkot, (Rabbi with a Lemon), 1924. Oil on canvas, 104 x 84 cm. Private Collection. 55 Jew in Red, 1915. Oil on cardboard, 100 x 80.5 cm. Russian Museum, St. Petersburg. 56 Jew in Green, 1914. Oil on cardboard, 100 x 80 cm. Collection Charles im Obersteg, Geneva. – this is, of course, a fiction – and snatches of impressions clearly convey the sense of “the thinking look” directed towards that which lives in the memory and in the imagination. Of course, this work does

not have the carefully thought out, intellectually constructed quality of Proust’s Swann’s Way, a book which was being written exactly at that time (it was published in 1913). Here there is more of the folklore, epic, confessional 57 58 Page 58: Self-Portrait, 1914. Oil on canvas, 62 x 96 cm. Private Collection. Page 59: Over Vitebsk, 1914. Oil on paper, 73 x 92.5 cm. Collection Ayala and Sam Zacks, Toronto. quality of a man endowed with the gift of full and natural self-expression. It was

inclination to assess works of art as independent entities, as a sort of aesthetic fact, suggesting with good reason that without such a view it is impossible to perceive the work properly and to truly evaluate it. Perhaps to a person unacquainted with the origins and fate of Chagall his Clocks and his Time would seem different than to one who had followed his life and tried to penetrate into the sources and nature of his pictures. Different, but in no way less significant; it is possible that,

both in the figures and in the landscape of Vitebsk, spread out below in a detached, poetical vision. The distant summer lightning of Cubist perception gradually dies away, to blaze up at about the same time somewhat unusually in the large canvas Self-portrait with Muse (The Apparition) (1917–1918). This picture, not without a touch of deliberate refinement, might have created a sense of being excessively beautiful if it were not for the obvious irony, the alienation, the return to undisguised

the etchings for Dead Souls that they contain a modem reading of Gogol – this would be to greatly oversimplify the problem. Of course, the sheets are executed by an artist who was fully aware of the latest plastic experiments; of course, they breathe the twentieth century; but this is not where their importance lies. The usual purpose of illustrations is to give concrete form to a literary narrative. That which is only suggested by the pen of the writer in the drawings takes on unavoidable,

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