Les bûcherons au bord du fleuve (recto); L'homme au parapluie (verso)

細節

Marc Chagall (1887-1985)
Les bûcherons au bord du fleuve (recto); L'homme au parapluie (verso)
signed and dated 'Chagall 910', and inscribed in Cyrillc 'Vitebsk zimoi po naberezhnoi' (recto; lower edge)
pencil on paper (recto and verso)
5¼ x 6 7/8 in. (13.5 x 17.5 cm.)
Drawn in 1910

來源

David McNeil (the artist's son), Paris, by descent from the artist (no. D 900).
Acquired from the above by the present owners in 1987.

出版

V. Rakitin, Chagall, Disegni inediti dalla Russia a Parigi, Milan, 1989, p. 40 (ill. p. 41).

展覽

Milan, Studio Marconi, Marc Chagall, Disegni inediti dalla Russia a Parigi, May - July 1988; this exhibition later travelled to Turin, Galleria della Sindone, Palazzo Reale, Dec. 1990 - Mar. 1991; Catania, Monastero dei Benedettini, Oct.- Nov. 1994; Meina, Museo e centro studi per il disegno, June - Aug. 1996.
Hannover, Sprengel Museum, Marc Chagall, "Himmel und Erde", Dec. 1996 - Feb. 1997.
Darmstadt, Institut Mathildenhöhe, Marc Chagall, Von Russland nach Paris, Zeichnungen 1906-1967, Dec. 1997 - Jan. 1998.
Abbazia Olivetana, Fondazione Ambrosetti, Marc Chagall, Il messaggio biblico, May - July 1998.
Klagenfurt, Stadtgalerie, Marc Chagall, Feb.- May 2000, p. 37 (ill.).
Florida, Boca Raton Museum of Art, Chagall, Jan.- Mar. 2002.

注意事項

VAT rate of 5% is payable on hammer price and at 15% on the buyer's premium

拍品專文

This work is sold with a photo-certificate from David McNeil.

The view of Chagall's hometown Vitebsk in the background, recognisable by its trio of the orthodox church, the synagogue and the Polish-Catholic church, is a recurring motif in Chagall's oeuvre. Chagall probably drew this rural scene of two woodcutters strolling along the Dvina river towards the town, during one of his trips to Vitebsk whilst he was studying in St. Petersburg. It highlights the contrast between the peaceful countryside with muddy paths and the busy urban life in Vitebsk on the other side of the river.

V. Rakitin suggested a link in composition and theme with Natalia Gontcharova's contemporary cycle dedicated to peasant life, as well as with the narrative icons which Chagall would have seen at the Museum Alexander III in St Petersburg.