Chagall, Marc, The Tribe of Naphtali, from The Twelve Maquettes of Stained Glass Windows for Jerusalem (1964)
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Email to FriendFirmado Marc Chagall, Litografía, The Tribe of Naphtali, from The Twelve Maquettes of Stained Glass Windows for Jerusalem (1964)  |
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| Artista: | Chagall, Marc (1887 - 1985) |
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| Título: | The Tribe of Naphtali, from The Twelve Maquettes of Stained Glass Windows for Jerusalem (1964) |
| Referencia: | CS 21 |
| Medio: | Litografía |
| Dimensiones del Ilustración: | 24 1/4 in x 18 1/8 in (61.6 cm x 46.2 cm) |
| Dimensiones del Papel: | 27 1/2 in x 20 3/4 in (69.9 cm x 52.7 cm) |
| Dimensiones del Marco: | approx. 43 3/4 in x 36 5/8 in (111.1 cm x 93 cm) |
| Firmado: | The work is hand signed by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin. |
| Edición: | Numbered 137/150 in the lower left margin; 75 proofs, signed and numbered in Roman numerals, on Arches wove paper, and 25 artist's proofs also exist. |
| Condición: | Remarkably vivid color with rich saturation, this work is in excellent condition. |
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Artículo# 3689
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Jewel tones and folk-accented animal imagery infuse The Tribe of Naphtali with a wonderment unique to Chagall. One of twelve maquettes created for a series of stained glass windows, this sunny print is one of the most technically difficult. |
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| Descripción Histórica: | |
| The son of Bilhah, Rachel's servant, Naphtali is likened by Jacob to a "hind
let loose : he giveth goodly words" (Genesis 49 : 21). Anchoring the composition
at its bottom center, Chagall's stag is graceful and lithe, true to its identity
in the Bible. Wings upraised, about to take flight from a lush tree, the bird
could be either a cock or an eagle. The rooster represents rebirth and vigilance,
and is a common motif in the artist's work, while the eagle is connected to
the tree of life. Jean Leymarie notes that the bird's aggressive stance could
allude, "to the origin of the word Naphtali, which means 'I have fought'"
(138). Whatever the viewer's relationship to its iconography, The Tribe of Naphtali
is desirable for its confetti sprays of color and its animated composition.
Created in 1964, this image is one in a series of twelve lithographs. Commissioned by the Hadassah-Hebrew Medical Center, Chagall created these works as maquettes for a series of stained glass windows to be installed in the Center's synagogue outside of Jerusalem. The work was engraved by Charles Sorlier, who worked in close collaboration with the artist, and is printed on watermarked Arches wove paper. This piece is numbered 104/150 at the lower left, and is hand signed by by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin. Finally, the original lithographic stone is engraved, 'CH. SORLIER. GRAV. LITH.' at the lower left of the image. Seventy-five proofs, signed and numbered in Roman numerals, on Arches wove paper, and ten artist's proofs also exist. DOCUMENTED AND ILLUSTRATED IN: 1) Leymarie, Jean. Marc Chagall: The Jerusalem Windows. New York: Park Lane,
1988. Listed and illustrated on pp. 137-47. ABOUT THE FRAMING: | |
| Estilo: | 20th Century Modern Master, Lovers, French and Russian |
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Marc Chagall biografía
Marc Chagall (1887 - 1985)
Marc Chagall was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in Saint Petersburg, at the Imperial Society for the Protection of the Arts and later with Léon Bakst. In 1910, he moved to Paris, where he associated with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des Indépendants and the Salon d'Automne in 1912. His first solo show was held in 1914 at Der Sturm gallery in Berlin.
Chagall visited Russia in 1914, and was prevented from returning to Paris by the outbreak of war. He settled in Vitebsk, where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until disagreements with the Suprematists resulted in his resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater there. After a sojourn in Berlin, Chagall returned to Paris in 1923 and met Ambroise Vollard. His first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. During the 1930s, he traveled to Palestine, the Netherlands, Spain, Poland, and Italy. In 1933, the Kunsthalle Basel held a major retrospective of his work.
During World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam, and London. During 1951, he visited Israel and executed his first sculptures. The following year, the artist traveled in Greece and Italy. During the 1960s, Chagall continued to travel widely, often in association with large-scale commissions he received. Among these were windows for the synagogue of the Hadassah-Hebrew University Medical Center, Jerusalem, installed in 1962; a ceiling for the Paris Opéra, installed in 1964; a window for the United Nations building, New York, installed in 1964; murals for the Metropolitan Opera House, New York, installed in 1967; and windows for the cathedral in Metz, France, installed in 1968. An exhibition of the artist's work from 1967 to 1977 was held at the Musée du Louvre, Paris, in 1977-78, and a major retrospective was held at the Philadelphia Museum of Art in 1985. During his lifetime he also created popular lithographs, such as Maternity. Chagall died March 28, 1985, in Saint-Paul-de-Vence, France.
"When Matisse dies," Pablo Picasso remarked, "Chagall will be the only painter left who understands what color really is." Picasso claimed he was not a fan of the "flying violins and all the folklore, but his canvases are really painted, not just thrown together." He followed up by saying, "There's never been anybody since Renoir who has the feeling for light that Chagall has."
The Haggerty Museum describes The Bible Chagall prints as showing "Chagall's fluid forms, dreamlike sense of space and unique style. In his choice of subject matter, Chagall reveals his reading of the Old Testament in its moments of triumph, sorrow, and prophecy."
