MARC CHAGALL (1887-1985)
MARC CHAGALL (1887-1985)
MARC CHAGALL (1887-1985)
MARC CHAGALL (1887-1985)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
MARC CHAGALL (1887-1985)

Chèvre bleue au-dessus de la fête au village en rose

Details
MARC CHAGALL (1887-1985)
Chèvre bleue au-dessus de la fête au village en rose
stamped with the signature 'Marc Chagall' (lower right)
gouache, pastel and brush and India ink on paper
25 3⁄4 x 19 7⁄8 in. (65.3 x 50.3 cm.)
Executed circa 1981
Provenance
The estate of the artist, and thence by descent.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Post lot text
The Comité Marc Chagall has confirmed the authenticity of this work.

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Michelle McMullan
Michelle McMullan Senior Specialist

Lot Essay

'Every painter is born somewhere, and even though he may later respond to the influences of other atmospheres, a certain essence – a certain “aroma” of his birthplace clings to his work’
- Marc Chagall (quoted in J. J. Sweeney, ‘An Interview with Marc Chagall,’ Partisan Review, vol. XI, no. 1, Winter 1944, p. 90).

Throughout his life, the town of Vitebsk where the artist had spent his formative years stood at the very foundation of Chagall’s creative inspiration. Its familiar streets and simple dwellings, ordinary inhabitants and colourful festivals, all left their mark on his imagination, shaping the artist he would become. As the artist explained, addressing his hometown directly, he carried Vitebsk in his heart through all of his life: ‘I didn’t have one single picture that didn’t breathe with your spirit and reflection’ (quoted in J. Wullschlager, Chagall: Love and Exile, London, 2008, p. 29).

Writing in the 1960s, the artist’s son-in-law Franz Meyer pinpointed the connection the artist felt for Vitebsk, and the powerful hold it had on his imagination: ‘…one senses the affectionate attachment that binds Chagall to his native town. This bond has continued down to the present day. That is why Chagall still paints the houses, the people and the views of Vitebsk. For him the town not only represents the past, but also the present. It is, and always will be, the scene of all inner experience’ (F. Meyer, op. cit., p. 24). Similarly, the artist himself explained to one interviewer: ‘Why do I always paint Vitebsk? With these pictures I create my own reality for myself, I recreate my home’ (quoted in S. Compton, Chagall: Love and the Stage 1914-1922, exh. cat., London, 1998, p. 16).

Livestock were a frequent sight in the artist's home town, with most families keeping chickens or cows, and as a result these animals came to populate his paintings with increasing frequency. In the artist's later works, animals such as the blue goat in the present work, came to acquire symbolic or mystical meanings and often represented a source of inspiration or creativity.



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