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Lot Essay
Throughout his life, Marc Chagall was mesmerized by the circus and its myriad performers, both human and animal. The fantastic, energetic spectacle resonated deeply with his own playful approach towards painting. The dynamic circus acrobat, in particular, was the ideal avatar for his artistic sensibilities. In the present work, for example, a larger-than-life acrobat stands at the center of a quiet, snow-dusted village, evocative of the artist's native Vitebsk. The acrobat stands in a precarious and impressively flexible position, with one muscular leg thrust vertically into the air. The main subject is here flanked on either side by two companions, both smaller in scale: another female acrobat seated in a split-legged position with her arms raised provocatively above her head, and a marigold, horned and bearded goat who cheerfully plays a violin.
This painting is remarkable for its saturated, jewel-tone hues and its mystical nocturnal setting, both of which are key elements of Chagall's personal style. The artist conjured an inky night sky with swirls of royal purple paint, which contrasts with the blanket of pure, bright white snow on the ground and the roofs of nearby buildings. The flamboyant make up and costumes of the performers similarly form a rich kaleidoscope of color, pattern and texture: the central acrobat wears a lime-green top, harlequin-patterned tights, a white ruff and a jaunty yellow cone hat, with exaggerated turquoise blush, while the other acrobat sports an aquamarine full-body leotard.
As this mixed-media painting demonstrates, the circus was more than just a cheap, colorful amusement for Chagall; it was an infinite source of childlike wonder and inspiration. As the artist later reflected upon the subject, "For me a circus is a magic show that appears and disappears like a world...It is a magic word, circus, a timeless dancing game where tears and smiles, the play of arms and legs take the form of a great art" (quoted in B. Harshav, ed., Marc Chagall on Art and Culture, Oakland, 2003, pp. 152-153).
This painting is remarkable for its saturated, jewel-tone hues and its mystical nocturnal setting, both of which are key elements of Chagall's personal style. The artist conjured an inky night sky with swirls of royal purple paint, which contrasts with the blanket of pure, bright white snow on the ground and the roofs of nearby buildings. The flamboyant make up and costumes of the performers similarly form a rich kaleidoscope of color, pattern and texture: the central acrobat wears a lime-green top, harlequin-patterned tights, a white ruff and a jaunty yellow cone hat, with exaggerated turquoise blush, while the other acrobat sports an aquamarine full-body leotard.
As this mixed-media painting demonstrates, the circus was more than just a cheap, colorful amusement for Chagall; it was an infinite source of childlike wonder and inspiration. As the artist later reflected upon the subject, "For me a circus is a magic show that appears and disappears like a world...It is a magic word, circus, a timeless dancing game where tears and smiles, the play of arms and legs take the form of a great art" (quoted in B. Harshav, ed., Marc Chagall on Art and Culture, Oakland, 2003, pp. 152-153).