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Lot Essay
This work is sold with a photo-certificate from David McNeil.
Chagall's experiences in Paris culminate in this fine self-portrait, in which the artist reaches graphic perfection by letting the pen and ink flow on a white surface. He achieves a similar effect to that of Nu au collier (lot 588), but here the lines are more suggestive and elusive, offering an intriguing deeper dimension to the artist's self-portrait. Chagall is close here in style to some of Modigliani's works, especially in the almond-shaped eyes, which are comparable with that of Modigliani's Little Peasant of circa 1918 (London, Tate Gallery, fig. 1). Marc met Modigliani in Paris and the latter had rented a studio for a short period in the same complex as Chagall's workshop 'La Ruche'. The mystery and spirituality overshadowing Modigliani's portraits must certainly have drawn Chagall's attention.
(fig. 1) Amadeo Modigliani, The Little Peasant, c. 1918. Tate Gallery, London; ADAGP, Paris and DACS, London, 2007.
Chagall's experiences in Paris culminate in this fine self-portrait, in which the artist reaches graphic perfection by letting the pen and ink flow on a white surface. He achieves a similar effect to that of Nu au collier (lot 588), but here the lines are more suggestive and elusive, offering an intriguing deeper dimension to the artist's self-portrait. Chagall is close here in style to some of Modigliani's works, especially in the almond-shaped eyes, which are comparable with that of Modigliani's Little Peasant of circa 1918 (London, Tate Gallery, fig. 1). Marc met Modigliani in Paris and the latter had rented a studio for a short period in the same complex as Chagall's workshop 'La Ruche'. The mystery and spirituality overshadowing Modigliani's portraits must certainly have drawn Chagall's attention.
(fig. 1) Amadeo Modigliani, The Little Peasant, c. 1918. Tate Gallery, London; ADAGP, Paris and DACS, London, 2007.