Easter - Marc Chagall
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Beschreibung
A dreamlike, expressionist scene by Marc Chagall, featuring a floating winged figure above a nocturnal village, rendered in moody tones and symbolic imagery.
Marc Chagall produced this work in 1968, a period during which his visual language relied heavily on personal symbolism and dreamlike narratives. The composition presents a nocturnal scene, dominated by a large, glowing red orb that contrasts with the dark, moody tones of the village below. A winged figure, rendered in pale, ethereal tones, floats above the rooftops, suggesting a celestial or spiritual presence. To the right, the head of a cow or bull emerges from the shadows, a recurring motif in Chagall's oeuvre that often bridges the gap between the animal world and human experience.
The lower portion of the canvas depicts a cluster of small, humble houses, typical of the shtetl imagery that informed much of the artist's work throughout his career. Figures appear in the foreground, their forms partially obscured by the gloom, adding to the sense of mystery and quiet observation. The application of paint is textured and layered, with visible brushwork that creates a sense of movement and instability. Chagall avoids rigid perspective, opting instead for a flattened, non-linear arrangement that prioritises emotional resonance over physical accuracy.
This piece captures the intersection of religious themes and folklore. The title, Easter, provides a framework for interpreting the scene as one of resurrection or spiritual awakening, yet the execution remains deeply subjective. The palette is restricted, relying on the tension between the deep blacks, greys, and the sudden, intense warmth of the red sun. By blending these disparate elements, Chagall creates a space where the mundane world of the village meets the fantastical realm of his imagination. The work functions as a meditation on memory, faith, and the persistence of cultural identity within the context of twentieth-century art.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Easter - Marc Chagall
Artist Biography
Marc Chagall
He was born Moishe Shagal in 1887, in the Pale of Settlement, the restricted zone where Jews were permitted to live in the Russian Empire. His father worked at a herring warehouse. The family was devout Hasidic. After studying in St Petersburg, he went to Paris in 1911 and immersed himself in the Fauvists and Cubists, absorbing their formal innovations without abandoning the narrative imagery of his childhood. The colour and the dreamlike floating figures were already there in Vitebsk. Paris gave him the structure.
He met Bella Rosenfeld, the daughter of a wealthy Vitebsk jeweller, and married her in 1915. She became his primary subject for the next three decades. The flying lovers that recur across his work, gravity-defying couples suspended above rooftops and villages, began with Bella. When she died of a streptococcal infection in New York in September 1944, penicillin existed but the entire supply was reserved for soldiers. He stopped painting for nine months. He continued to paint her memory for the remaining forty-one years of his life.
Picasso once said that when Matisse dies, Chagall will be the only painter left who understands what colour really is. The friendship ended at a dinner at Chagall's home in 1964. Picasso asked when he was going back to Russia. Chagall replied: after you, I hear you are greatly loved there but not your work. They never spoke again.
His late stained glass commissions are among the strongest work of his final decades: the Peace Window at the United Nations, the twelve windows representing the Tribes of Israel at the Hadassah Medical Centre in Jerusalem, and windows at Metz Cathedral. In 1964, Andre Malraux commissioned him to paint the ceiling of the Paris Opera, a decision that provoked fury from critics who objected to a Russian-born Jewish artist working inside a French Baroque monument. He lived to ninety-seven.
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