The Comité Marc Chagall has confirmed the authenticity of this work.
Throughout his career, Chagall turned to the subject of the still life and the depiction of flowers in particular as a coded expression of romance. During his marriage to Bella Rosenfeld from 1915 until her death in 1944, the artist executed countless works of this genre to express his exuberance over the blissful state of their union. In the years following the passing of his beloved muse and throughout his second marriage to Valentina "Vava" Brodsky beginning in 1952, this genre continued to provide a means for the painter to express sentiments of contentment as well as reflect upon the ephemeral nature of life. The canvases and works on paper were nearly always marked by a wild proliferation of vivid blooms emanating from a central basket or vase.
Vase de fleurs à l'ananas is a full bouquet of brilliant and vibrant color which seems to spring from a viridian ground. The flowers are flanked by two of Chagall's beloved symbols, the cock and young lovers. The theme of the affianced pair, the bride and groom, or the newlywed couple, is the most frequent subject in Chagall's paintings. There are many variants on this theme, and as befitting the mysteries of human love, and so characteristic of Chagall's work generally, there is rarely a straight-forward or clearly logical narrative behind these paintings. Time has been compressed, and events seem to take place in the haze of memories or dreams.
With its virtual explosion of brightly-hued blossoms emanating from an impossibly small vase, Vase de fleurs à l'ananas presents a traditional still life subject injected with emotion and nostalgia. The miniature explosions of these blooms add an effervescence to Vase de fleurs à l'ananas that reveals why Picasso would come to admit, in begrudging admiration, that "there's never been anyone since Renoir who has the feeling for light that Chagall has" (quoted in J. Baal-Teshuva, ed., Chagall: A Retrospective, Westport, 1995, p. 270).