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Lot Essay
This work is sold with a photo-certificate from David McNeil.
During his first trip to Paris (1910-1914), Chagall was so enthusiastic that he found sufficient to draw a few buildings, seen from his window. The Salon d'Automne of 1911 gave the opportunity to the Russian artist to view the most recent French painting, such as the Fauves. He also attended numerous discussions within Cubist and Futurist intellectual circles, and through his good friend Robert Delaunay and his wife, Sonia, Chagall met Albert Gleizes, Roger de la Fresnaye, Fernand Léger, Jean Metzinger, Louis Marcoussis and André Lhote.
Here Chagall seems to have absorbed aspects of his friend Robert Delaunay's paintings. Chagall, like Delaunay, shared an attraction to windows and window views, linked to the Symbolists' use of glass panes as metaphors for the transition from internal to external states. The window was a recurring motif in many of Chagall's paintings, as it defined the separation between the inside and the 'other' world, one of the artist's main concerns.
During his first trip to Paris (1910-1914), Chagall was so enthusiastic that he found sufficient to draw a few buildings, seen from his window. The Salon d'Automne of 1911 gave the opportunity to the Russian artist to view the most recent French painting, such as the Fauves. He also attended numerous discussions within Cubist and Futurist intellectual circles, and through his good friend Robert Delaunay and his wife, Sonia, Chagall met Albert Gleizes, Roger de la Fresnaye, Fernand Léger, Jean Metzinger, Louis Marcoussis and André Lhote.
Here Chagall seems to have absorbed aspects of his friend Robert Delaunay's paintings. Chagall, like Delaunay, shared an attraction to windows and window views, linked to the Symbolists' use of glass panes as metaphors for the transition from internal to external states. The window was a recurring motif in many of Chagall's paintings, as it defined the separation between the inside and the 'other' world, one of the artist's main concerns.