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Lot Essay
The Comité Marc Chagall has confirmed the authenticity of this work.
The concept and experience of love for Chagall was absolutely positive and all-powerful. While other great Twentieth Century artists have made the expression of the sexuality of love central themes, Chagall is practically alone in ardently celebrating the traditional ritual and meaning of marriage, in which human love is exalted and sanctified.
Chagall was married twice. In 1915, he married his beloved Bella Rosenfeld in Vitebsk. During World War II, Chagall and Bella lived in America, and in the summer of 1944 their spirits were uplifted by the liberation of Paris and the promise of a quick end to the war. It came as a cruel and unexpected blow to the artist when Bella died suddenly of a viral infection in September. He could not work for almost nine months, and when he finally resumed painting many pictures contained references to memories of his marriage to Bella.
In 1952, Chagall married Valentina (Vava) Brodsky. "This marked the beginning of a new chapter in his life and, consequently his work. The evolution that now occurred took on a different 'color' due in part to the rich quality of their relationship...Their common origin signified for Chagall a new anchor in his own world and so a sense of security that formed the basis of his future artistic liberty" (F. Meyer, Marc Chagall, Life and Work, New York, 1963, p. 529).
Le mariage executed circa 1968 is a vivid presentation of the marriage ceremony. The couple dominate the composition as their figures nearly extend the entire length of the sheet. Their focus is towards each other as their marriage is celebrated by the villagers who surround them. Color had always been a primary force in Chagall's works, particularly his works on paper, and the present work is infused with rich color, such as the striking blue background and the brilliant red chuppa. The colors reflect both the couple's joy and Chagall's celebration of marriage.
The concept and experience of love for Chagall was absolutely positive and all-powerful. While other great Twentieth Century artists have made the expression of the sexuality of love central themes, Chagall is practically alone in ardently celebrating the traditional ritual and meaning of marriage, in which human love is exalted and sanctified.
Chagall was married twice. In 1915, he married his beloved Bella Rosenfeld in Vitebsk. During World War II, Chagall and Bella lived in America, and in the summer of 1944 their spirits were uplifted by the liberation of Paris and the promise of a quick end to the war. It came as a cruel and unexpected blow to the artist when Bella died suddenly of a viral infection in September. He could not work for almost nine months, and when he finally resumed painting many pictures contained references to memories of his marriage to Bella.
In 1952, Chagall married Valentina (Vava) Brodsky. "This marked the beginning of a new chapter in his life and, consequently his work. The evolution that now occurred took on a different 'color' due in part to the rich quality of their relationship...Their common origin signified for Chagall a new anchor in his own world and so a sense of security that formed the basis of his future artistic liberty" (F. Meyer, Marc Chagall, Life and Work, New York, 1963, p. 529).
Le mariage executed circa 1968 is a vivid presentation of the marriage ceremony. The couple dominate the composition as their figures nearly extend the entire length of the sheet. Their focus is towards each other as their marriage is celebrated by the villagers who surround them. Color had always been a primary force in Chagall's works, particularly his works on paper, and the present work is infused with rich color, such as the striking blue background and the brilliant red chuppa. The colors reflect both the couple's joy and Chagall's celebration of marriage.