Amour

細節

Marc Chagall (1887-1985)
Amour
titled in Cyrillic 'liubov' (lower left); signed and dated 'M Chagall 1907' (lower right)
pencil on paper
11 5/8 x 7½ in. (29.5 x 19.2 cm.)
Drawn circa 1907

來源

David McNeil (the artist's son), Paris, by descent from the artist (no. D 837).
Acquired from the above by the present owners in 1987.

出版

F. Meyer, Marc Chagall, Life and Work, New York, 1964, p. 44 (ill.).
M. Bucci, Chagall, Florence, 1970, p. 9 (ill. pl. 1).
Exh. cat., Marc Chagall, Oeuvres sur papier, Paris, Centre Georges Pompidou, Musée national d'art moderne, Jun.- Oct. 1984, p. 32 (ill. doc. 6).
Exh. cat., Marc Chagall, Retrospektive, Arbeiten auf Papier, Hannover, Kestner-Gesellschaft, Feb.- Apr. 1985, (ill. p. 81).
V. Rakitin, Chagall, Disegni inediti dalla Russia a Parigi, Milan, 1989, p. 24 (ill. p. 25).

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. 34 (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.

Illustrated in several of the main books on Chagall, this pencil drawing is one of Chagall's rare early sketches which have survived. According to Meyer, not more than three drawings of such an early date remained in the artist's archives, Le Bal (M 3), Sur le banc (M 4) and the present drawing - these were all executed outside Chagall's classes in Jehuda Pen's school.

The satirical tone of this drawing, with the grotesque man facing the woman as 'massive as a mountain' (M p. 45), does not aim at caricature. Despite the apparent irony of the title Amour, Chagall purposely keeps it to accentuate the rustic reality of his two figures. In this sketch, Chagall concentrates on depicting the daily existence of these lower and middle class inhabitants of the provincial township, as opposed to representing them in Pen's banal realist style. Meyer points out the link with Judaist iconoclasm, consisting in preventing images of the outer reality from weakening the inner reality. By using the intermediary of the grotesque, Chagall offers another reality wherein the soul can find itself.