Lovers for Berggruen (The Offering) - Marc Chagall
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Beschreibung
A 1957 lithograph by Marc Chagall, depicting two lovers exchanging a bouquet of flowers through expressive, calligraphic lines and a focused colour palette.
This lithograph, titled Lovers for Berggruen (The Offering), is a characteristic work by Marc Chagall. Produced in 1957, the print demonstrates the artist's focus on themes of affection and intimacy. Chagall often returned to the subject of lovers, using them as a vehicle to explore personal memory and emotional states. The composition is defined by a sense of lightness and fluidity, typical of his mid-century graphic output.
The visual arrangement is sparse, allowing the figures to occupy the centre of the frame. The male and female figures are depicted in profile, leaning toward one another. A bouquet of flowers acts as the central motif, held between them as a gesture of affection. Chagall employs a limited colour palette, relying on deep blues and bright reds to create contrast against the cream-coloured paper. The lines are calligraphic and spontaneous, suggesting a rapid, intuitive process rather than a rigid, academic approach.
Surrounding the figures is a delicate border of decorative marks. These small, rhythmic shapes frame the scene, adding a sense of enclosure without restricting the space. The work reflects Chagall's ability to synthesise folk-art influences with the visual language of modernism. By stripping away unnecessary detail, he directs the viewer's attention to the interaction between the two subjects. The print is signed by the artist in the lower margin, confirming its status as an original graphic work. It remains a clear example of his approach to printmaking, where the medium serves to disseminate his personal iconography to a wider audience. The work avoids heavy shading, opting instead for flat areas of colour and expressive, gestural outlines that define the forms of the lovers and the floral offering.
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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
Lovers for Berggruen (The Offering) - 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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