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拍品專文
La vache rose - Une rue à Vitebsk combines rural simplicity with the strange, idiosyncratic and magical sense of myth and wonder so distinctive in Chagall's work. The pink cow of the title is thrust into bold relief by the colours in the background, while the characters outside the shops and houses combine the appearance of the normal Russians of Chagall's youth with the mystical surreal atmosphere that had now come to flavour his works.
In the wake of the Russian Revolution, as he began to perceive with increasing disappointment that the arts were not benefiting as he had hoped and intended from the overturn, Chagall left his native country. In 1923, he settled in Paris. During this period, he had sought to recover some of his older works from Herwath Walden and Ambroise Vollard and others, but had met with little success. He therefore set about recreating many of those works from memory. These were not replicas, though, but reimaginations, works that reflected his new, nostalgic perspective. La vache rose - Une rue à Vitebsk bears a striking resemblance to a drawing that he had made a decade earlier. This is not a recreation of that work, but instead shows Chagall's preoccupation with summoning the memories of the hometown of his youth. The street in Vitebsk is marked by the same details, filled with the same houses as in his earlier work, yet now has been filled with a sense of lyrical whimsy. In a surreal manner various apparitions, incongruous sights, have filled the streets. A woman stands atop the pink cow of the title, and on her head is perched a basket of flowers; more flowers appear in the tail of the cockerel on the back of which stands a young boy, a pig lies on its back in the street... The jaunty sense of fun and simplicity of a decade earlier remains, but has now been re-invoked with a new layer of capricious details, bringing a folk-tale sense of magical surreality to the picture. This is best exemplified in the ghostly, mirage-like appearance of a final character, standing on a silhouetted horse, holding an umbrella, who appears in the skies above Vitebsk. This combination of strange and impossible and magical elements allows Chagall to bring about the reincarnation not only of his lost works of art, but also of the home that he had now finally abandoned.
In the wake of the Russian Revolution, as he began to perceive with increasing disappointment that the arts were not benefiting as he had hoped and intended from the overturn, Chagall left his native country. In 1923, he settled in Paris. During this period, he had sought to recover some of his older works from Herwath Walden and Ambroise Vollard and others, but had met with little success. He therefore set about recreating many of those works from memory. These were not replicas, though, but reimaginations, works that reflected his new, nostalgic perspective. La vache rose - Une rue à Vitebsk bears a striking resemblance to a drawing that he had made a decade earlier. This is not a recreation of that work, but instead shows Chagall's preoccupation with summoning the memories of the hometown of his youth. The street in Vitebsk is marked by the same details, filled with the same houses as in his earlier work, yet now has been filled with a sense of lyrical whimsy. In a surreal manner various apparitions, incongruous sights, have filled the streets. A woman stands atop the pink cow of the title, and on her head is perched a basket of flowers; more flowers appear in the tail of the cockerel on the back of which stands a young boy, a pig lies on its back in the street... The jaunty sense of fun and simplicity of a decade earlier remains, but has now been re-invoked with a new layer of capricious details, bringing a folk-tale sense of magical surreality to the picture. This is best exemplified in the ghostly, mirage-like appearance of a final character, standing on a silhouetted horse, holding an umbrella, who appears in the skies above Vitebsk. This combination of strange and impossible and magical elements allows Chagall to bring about the reincarnation not only of his lost works of art, but also of the home that he had now finally abandoned.