Marc Zakharovich Chagall ( shə-GAHL;[3][nb 1] born Moishe Zakharovich Shagal;[4] 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin.[1] An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.

Before World War I, he traveled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.

He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[5] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".[6]

Early life and education

Marc Chagall was born Moishe Segal in a Lithuanian Jewish Hassidic family in Liozna,[7] near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887.[note][8] At the time of his birth, Vitebsk's population was about 66,000, with half the population being Jewish.[5] A picturesque city of churches and synagogues, it was called "Russian Toledo", after a cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.

Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family.[9] His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire being 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:

Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. There he said his usual prayer for some dead man or other. On his return he made ready the samovar, drank some tea and went to work. Hellish work, the work of a galley-slave. Why try to hide it? How tell about it? No word will ever ease my father's lot... There was always plenty of butter and cheese on our table. Buttered bread, like an eternal symbol, was never out of my childish hands.[10]

One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia. They also made furniture and various agricultural tools.[11] From the late 18th century to the First World War, the Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.[12]:14

Chagall wrote as a boy; "I felt at every step that I was a Jew—people made me feel it".[13][14] During a pogrom, Chagall wrote that: "The street lamps are out. I feel panicky, especially in front of butchers' windows. There you can see calves that are still alive lying beside the butchers' hatchets and knives".[14][15] When asked by some pogromniks "Jew or not?", Chagall remembered thinking: "My pockets are empty, my fingers sensitive, my legs weak and they are out for blood. My death would be futile. I so wanted to live".[14][15] Chagall denied being a Jew, leading the pogromniks to shout "All right! Get along!"[14][15]

Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Chagall related how he realised that the Jewish traditions in which he had grown up were fast disappearing and that he needed to document them. Vitebsk itself had been a centre of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:

Chagall's art can be understood as the response to a situation that has long marked the history of Russian Jews. Though they were cultural innovators who made important contributions to the broader society, Jews were considered outsiders in a frequently hostile society... Chagall himself was born of a family steeped in religious life; his parents were observant Hasidic Jews who found spiritual satisfaction in a life defined by their faith and organized by prayer.[12]:14

Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.[16]

Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."[12]:14

Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the Hassidic spirit is still the basis and source of nourishment for his art."[17] Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "[5]

Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":

Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.[18]

Art career

Russia (1906–1910)

In 1906, he moved to Saint Petersburg which was then the capital of Russia and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years.[11] By 1907, he had begun painting naturalistic self-portraits and landscapes. Chagall was an active member of the irregular freemasonic lodge, the Grand Orient of Russia's Peoples.[19] He belonged to the "Vitebsk" lodge.

Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin.[20] Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."[21]:30

Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me."[11]:22

France (1910–1914)

Marc Chagall, 1911–12, The Drunkard (Le saoul), 1912, oil on canvas. 85 × 115 cm. Private collection

In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrarsand Guillaume Apollinaire.[23]:7 Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.[24]

He, therefore, developed friendships with Guillaume Apollinaire and other avant-garde luminaries such as Robert Delaunayand Fernand Léger.[25] Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true."[11]:33 His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Russian folklore, his Hasidic experience, his family, and especially Bella".

In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nainbrothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."[11] Baal-Teshuva describes this new phase in Chagall's artistic development:

Chagall was exhilarated, intoxicated, as he strolled through the streets and along the banks of the Seine. Everything about the French capital excited him: the shops, the smell of fresh bread in the morning, the markets with their fresh fruit and vegetables, the wide boulevards, the cafés and restaurants, and above all the Eiffel Tower.

Another completely new world that opened up for him was the kaleidoscope of colours and forms in the works of French artists. Chagall enthusiastically reviewed their many different tendencies, having to rethink his position as an artist and decide what creative avenue he wanted to pursue.[11]:33

During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night.[11]:44 "My homeland exists only in my soul", he once said.[24]:viii He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.[5]

Russia and Soviet Belarus (1914–1922)

Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."[11]

After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career".[5] His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.[11]:75

In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917.[26] Chagall was 30 years old and had begun to become well known.[11]:77

The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. Chagall wrote he came to fear Bolshevik orders pinned on fences, writing: "The factories were stopping. The horizons opened. Space and emptiness. No more bread. The black lettering on the morning posters made me feel sick at heart".[27]Chagall was often hungry for days, later remembering watching "a bride, the beggars and the poor wretches weighted down with bundles", leading him to conclude that the new regime had turned Russia "upside down the way I turn my pictures".[27] By then he was one of Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution".[5] He was offered a notable position as a commissar of visual arts for the country, but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".

It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.

In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was 9 feet (2.7 m) tall by 24 feet (7.3 m) long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis.[5] The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.[11]:87

Famine spread after the war ended in 1918. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although he now had to commute to Moscow daily using crowded trains. In 1921, he worked as an art teacher along with his friend sculptor Isaac Itkind in a Jewish boys' shelter in suburban Malakhovka, which housed orphaned refugees from Ukrainian pogroms.[6]:270 While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.[6]:273

After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.[11]:12

Jewish themes

After absorbing the techniques of Fauvism and Cubism (under the influence of Jean Metzinger and Albert Gleizes)[37] Chagall was able to blend these stylistic tendencies with his own folkish style. He gave the grim life of Hasidic Jews the "romantic overtones of a charmed world", notes Goodman. It was by combining the aspects of Modernism with his "unique artistic language", that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of "Russia's most numerous and creative minorities", notes Goodman.[12]:13

World War I, which ended in 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, "The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination... So rich had the experience been, it sustained him for the rest of his life."[12]:15 Sweeney adds that "if you ask Chagall to explain his paintings, he would reply, 'I don't understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me..."[23]:7

In 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. In 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled "For the Slaughtered Artists: 1950", which inspired paintings such as the Song of David (see photo):

I see the fire, the smoke and the gas; rising to the blue cloud, turning it black. I see the torn-out hair, the pulled-out teeth. They overwhelm me with my rabid palette. I stand in the desert before heaps of boots, clothing, ash and dung, and mumble my Kaddish. And as I stand—from my paintings, the painted David descends to me, harp in hand. He wants to help me weep and recite chapters of Psalms.[18]:114–115

Lewis writes that Chagall "remains the most important visual artist to have borne witness to the world of East European Jewry... and inadvertently became the public witness of a now vanished civilization."[5] Although Judaism has religious inhibitions about pictorial art of many religious subjects, Chagall managed to use his fantasy images as a form of visual metaphor combined with folk imagery. His "Fiddler on the Roof", for example, combines a folksy village setting with a fiddler as a way to show the Jewish love of music as important to the Jewish spirit.

However, Chagall had a complex relationship with Judaism. On the one hand, he credited his Russian Jewish cultural background as being crucial to his artistic imagination. But however ambivalent he was about his religion, he could not avoid drawing upon his Jewish past for artistic material. As an adult, he was not a practicing Jew, but through his paintings and stained glass, he continually tried to suggest a more "universal message", using both Jewish and Christian themes.[39]

For about two thousand years a reserve of energy has fed and supported us, and filled our lives, but during the last century a split has opened in this reserve, and its components have begun to disintegrate: God, perspective, colour, the Bible, shape, line, traditions, the so-called humanities, love, devotion, family, school, education, the prophets and Christ himself. Have I too, perhaps, doubted in my time? I painted pictures upside down, decapitated people and dissected them, scattering the pieces in the air, all in the name of another perspective, another kind of picture composition and another formalism.[21]:29

He was also at pains to distance his work from a single Jewish focus. At the opening of The Chagall Museum in Nice he said 'My painting represents not the dream of one people but of all humanity'.

Notes

1.^ Most sources uncritically repeat the information that he was born on 7 July 1887, without specifying whether this was a Gregorian or Julian date. However, this date is incorrect. He was born on 24 June 1887 under the then Julian calendar, which translates to 6 July 1887 in the Gregorian calendar, the gap between the calendars in 1887 being 12 days. Chagall himself miscalculated the Gregorian date when he arrived in Paris in 1910, using the 13-day gap that then applied, not realising that this applied only from 1900 onwards. For further details, see Marc Chagall and His Times: A Documentary Narrative, p. 65.

1. Yiddish: מאַרק זאַהאַראָוויטש שאַגאַל‎; Russian: Марк Заха́рович Шага́л; Belarusian: Марк Захаравіч Шагал

References

1. Benjamin Harshav: Marc Chagall and his times: a documentary narrative. Contraversions: Jews and Other Differences. Stanford University Press; 1 edition. August 2003. ISBN 0804742146.
2. Polonsky, Gill, Chagall. Phaidon, 1998. p. 25
3. "Random House Unabridged Dictionary". Dictionary.reference.com. Retrieved 15 March 2012.
4. Matthieu Dhennin (2006). Le lexique subjectif d'Emir Kusturica: portrait d'un réalisateur. L'AGE D'HOMME. pp. 22–. ISBN 978-2-8251-3658-4.
5. Lewis, Michael J. "Whatever Happened to Marc Chagall?" Commentary, October 2008 pp. 36–37
6. Wullschlager, Jackie. Chagall: A Biography Knopf, 2008
7. "Marcchagall.narod.ru". Marcchagall.narod.ru. Retrieved 15 March 2012.
8. Binyāmîn Haršav, Marc Chagall, Barbara Harshav Marc Chagall and his times: a documentary narrative. Books.google.com.au. Retrieved 15 March 2012.
9. "Segal.org". Segal.org. 22 May 2005. Retrieved 15 March 2012.
10. Chagall, Marc. My Life, Orion Press (1960)
11. Baal-Teshuva, Jacob. Marc Chagall, Taschen (1998, 2008)
12. Goodman, Susan Tumarkin. Marc Chagall: Early Works From Russian Collections, Third Millennium Publ. (2001)
13. Meisler, Stanley (14 April 2015). Shocking Paris: Soutine, Chagall and the Outsiders of Montparnasse. St. Martin's Press. p. 69. ISBN 1466879270.
14. Moyhahan 1992, p. 129.
15. Marc Chagall, Elinslated Abbott, Marc Chagall My Life, The Orion Press, 1960
16. Jonathan Wilson, Marc Chagall. Page 61-68
17. Meyer, Franz. Marc Chagall, L'œuvre gravé, Paris (1957)
18. Chagall, Marc. Marc Chagall on Art and Culture, editor: Benjamin Harshav. Stanford Univ. Press (2003)
19. "Noteworthy members of the Grand Orient of France in Russia and the Supreme Council of the Grand Orient of Russia's People". Grand Lodge of British Columbia and Yukon. 15 October 2017.
20. "The inflated stardom of a Russian artist", IHT, 15–16 November 2008
21. Cogniat, Raymond. Chagall, Crown Publishers, Inc. (1978)
22. Several of Chagall's paintings inspired the musical; contrary to popular belief, the "title of the musical does not refer to any specific painting". Wecker, Menachem. "Marc Chagall: The French painter who inspired the title Fiddler on the Roof", The Washington Post, October 24, 2014
23. Sweeney, James J. Marc Chagall, The Museum of Modern Art (1946, 1969)
24. Leymarie, Jean. The Jerusalem Windows, George Braziller (1967)
25. "Marc Chagall | Russian-French artist". Encyclopedia Britannica. Retrieved 2017-08-22.
26. "The Magician". World Digital Library. 1917. Retrieved 2013-09-30.
27. Moyhahan 1992, p. 334.
28. "Marc Chagall at Vereinigung Zürcher Kunstfreunde". Kunsthaus.ch. 30 June 2008. Retrieved 15 March 2012.
29. Shrayer, Maxim. An anthology of Jewish-Russian literature – vol 1, M.E. Sharpe (2007)
30. "El Museo de arte Thyssen-Bornemisza – (Paseo del Prado, 8, Madrid-España)". Museothyssen.org. Archived from the original on 12 March 2012. Retrieved 15 March 2012.
31. "Viewpoint: Could one man have shortened the Vietnam War?". BBC News. 8 July 2013. Retrieved 9 July 2013.
32. Tracie Rozhon (16 November 2000). "BIG DEAL; An Old Chagall Haunt, Repainted". New York Times. Retrieved 10 April 2013.
33. McBride, Henry. New York Sun, Nov. 28, 1941
34. Denby, Edwin. New York Herald Tribune, Oct. 6, 1942
35. Gilot, Françoise. Life with Picasso, Anchor Books (1989) p. 282
36. Australian Dictionary of Biography; Loudon Sainthill; Retrieved 3 September 2013
37. Cooper, Douglas (1970). The Cubist Epoch, London : Phaidon, in association with the Los Angeles County Museum of Art & the Metropolitan Museum of Art
38. "How music influenced the art of Marc Chagall". CBS News. 7 May 2017.
39. Slater, Elinor and Robert. Great Jewish Men, (1996) Jonathan David Publ. Inc. pp. 84–87
40. "Stamps; A Tribute of Seven Nations Marks the Chagall Centennial"New York Times, 8 Feb 1987
41. Chagall Stained-Glass, United Nations Cyber School Bus, United Nations, UN.org, 2001 Archived 28 September 2013 at the Wayback Machine., retrieved 4 August 2007
42. Charlesworth, James H. The Good and Evil Serpent: How a Universal Symbol Became Christianized, Yale Univ. Press (2010) pp. 421–422
43. "Photo of stained glass at Fraumünster cathedral, Zurich, Switzerland"
44. "St. Stephan's—Chagall's mysticism of blue light", City of Mainz website
45. Man, John, The Gutenberg Revolution, (2002) Headline Book Publishing
46. "Jewish Life and Times in Medieval Mainz", City of Mainz website
47. "Youtube.com". Youtube.com. Retrieved 15 March 2012.
48. "All Saints' Church, Tudeley". Retrieved 18 December 2009.
49. https://hudsonvalley.org/historic-sites/union-church-of-pocantico-hills/
50. Chagall Glass at Chichester and Tudeley, Paul Foster (ed), published by University College Chichester, ISBN 0-948765-78-X
51. Susan Gillingham, Jewish and Christian Approaches to the Psalms: Conflict and Convergence, Oxford University Press, USA, 2013, ISBN 9780199699544, p. 113
52. Art Institute of Chicago, Chagall's America Windows
53. The History Blog, Chagall’s America Windows return to Chicago Art Institute
54. Penny L. Remsen "Chagall, Marc" in Thomas J Mikotowicz, Theatrical designers: and International Biographic Dictionary. New York: Greenwood, 1992 ISBN 0313262705
55. Susan Goodman, with essays by Zvi Gitelman, Vladislav Ivanov, Jeffrey Veidlinger, and Benjamin Harshav (2008). Chagall and the Artists of the Russian Jewish Theater. Yale University Press. ISBN 9780300111552. Retrieved 15 March 2012.
56. "Moscow-faf.com". Moscow-faf.com. Archived from the original on 12 March 2012. Retrieved 15 March 2012.
57. "Jewishvirtuallibrary.org". Jewishvirtuallibrary.org. Retrieved 15 March2012.
58. Davies, Serena. Chagall: Love and Exile by Jackie Wullschlager—review UK Daily Telegraph, 11 October 2008
59. Marc Chagall Brings a Message of Hope and Faith to the DisabledArchived 5 February 2013 at the Wayback Machine.
60. Marc Chagall tapestry Chicago Tribune
61. [1]
62. Walther, Ingo F., Metzger, Rainer. Marc Chagall, 1887–1985: Painting as Poetry, Taschen (2000)
63. Will This Rare Marc Chagall Painting Break a 27-Year-Old Auction Record?, Artnet News
64. Chagall sets auction record at $28.5m in New York, The Times of Israel
65. "$4 million Chagall painting sets new Asian record" Economic Times, 5 Oct 2010
66. "Recipients of Yakir Yerushalayim award (in Hebrew)". Archived from the original on 17 June 2011. City of Jerusalem official website
67. Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005).
68. "Museum.nsk.ru". Museum.nsk.ru. Archived from the original on 25 January 2012. Retrieved 15 March 2012.
69. Chagall Between War and Peace - 21 February 2013 – 21 July 2013Archived 9 July 2013 at the Wayback Machine.
70. "Marc Chagall: Early Works from Russian Collections". The Jewish Museum. Retrieved 2017-04-04.
71. "Chagall: Love, War, and Exile". The Jewish Museum. Retrieved 2017-04-04.
72. "Hudsonvalley.org". Hudsonvalley.org. Retrieved 15 March 2012.
73. "Marc Chagall Museum". Chagal-vitebsk.com. Retrieved 15 March 2012.
74. "Biblicalarts.org". Biblicalarts.org. Retrieved 15 March 2012.
75. "Travel | Yufuin". Metropolis. 10 October 2008. Retrieved 15 March 2012.
76. "Olympics close with tribute to Russian artists and a little self-deprecating humor", Washington Post, 23 February 2014
77. video clip: "Sochi 2014 Winter Olympics Closing Ceremony"

Bibliography

• Chagall, Marc (1947). Heywood, Robert B., ed. The Works of the Mind: The Artist. Chicago: University of Chicago Press. OCLC 752682744.
• Alexander, Sidney, Marc Chagall: A Biography G.P. Putnam's Sons, 1978.
• Monica Bohm-Duchen, Chagall (Art & Ideas) Phaidon 1998. ISBN 0-7148-3160-3
• Chagall, Marc, My Life Peter Owen Ltd, 1965 (2003) ISBN 978-0-7206-1186-1
• Compton, Susann, Chagall Harry N. Abrams, 1985.
• Forestier, Sylvie, Nathalie Hazan-Brunet, Dominique Jarrassé, Benoit Marq, Meret Meyer. 2017. Chagall: The Stained Glass Windows. Paulist Press.
• Harshav, Benjamin, Marc Chagall and His Times: A Documentary Narrative, Stanford University Press, 2004. ISBN 978-0-8047-4214-6
• Harshav, Benjamin, Marc Chagall on Art and Culture, Stanford University Press, 2003. ISBN 0-8047-4830-6
• Kamensky, Aleksandr, Marc Chagall, An Artist From Russia, Trilistnik, Moscow, 2005 (In Russian)
• Kamensky, Aleksandr, Chagall: The Russian Years 1907–1922., Rizzoli, New York, 1988 (Abridged version of Marc Chagall, An Artist From Russia) ISBN 0-8478-1080-1
• Moynahan, Brian Comrades 1917-Russian in Revolution, Boston: Little, Brown and Company, 1992, ISBN 0-316-58698-6.
• Nikolaj, Aaron, Marc Chagall., (Monographie) Reinbek 2003 (In German)
• Shishanov V.A. Vitebsk Museum of Modern Art – a history of creation and a collection. 1918–1941. – Minsk: Medisont, 2007. – 144 p.
• Wilson, Jonathan Marc Chagall, Schocken, 2007 ISBN 0-8052-4201-5
• Wullschlager, Jackie. Chagall: A Biography Knopf, 2008
• Shishanov, V.A. "Double Portrait with a glass of wine" - in search of the sources of the plot of Marc Chagall paintings / V.A. Shishanov / / Marc Chagall and St. Petersburg. The 125th anniversary of the birth of the artist / Scientific. Ed. and comp. : O.L. Leykind, D.Y. Severyukhin. - St. Petersburg: "Evropeiski House" in 2013. pp. 167–176. [2]

Comments (0)

There are no comments posted here yet

Leave your comments

1. Posting comment as a guest. Sign up or login to your account.

Username

Password

Login to my account →

Name (Required)

Email

Website

Background

Attachments (0 / 3)

Share Your Location

Cancel Submit Comment