The Fall of Icarus - Marc Chagall
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Beschreibung
A dreamlike interpretation of the Icarus myth by Marc Chagall, featuring a plummeting figure above a bustling, colourful village scene.
Marc Chagall produced this interpretation of the Greek myth of Icarus in 1975. The composition departs from traditional depictions of the subject, which often focus on the sea or the immediate aftermath of the fall. Instead, Chagall places the plummeting figure of Icarus against a dreamlike, atmospheric sky, while the earth below remains populated by a bustling, village-like scene. The artist employs his characteristic approach to colour and form, where figures float and spatial logic is secondary to emotional resonance.
The upper portion of the canvas is dominated by the figure of Icarus, whose wings are rendered with blue and dark tones, contrasting with the lighter, ethereal wash of the sky. Below, the ground is a wash of warm, earthy reds and oranges, populated by small, gestural figures that appear to go about their daily lives, seemingly oblivious to the mythological event occurring above. This juxtaposition between the celestial tragedy and the mundane activity of the village is a recurring theme in Chagall's later work. The artist uses a fluid, almost watercolour-like application of paint, allowing colours to bleed into one another, which creates a sense of movement and instability.
Chagall's work often draws upon his memories of his childhood in Vitebsk, and this influence is visible here in the architecture and the grouping of the figures. By recontextualising the myth of Icarus within a setting that feels personal and familiar, Chagall transforms a classical narrative into a meditation on human ambition and the passage of time. The work does not rely on rigid perspective, but rather on the layering of images and the interplay of light and shadow to guide the viewer's eye across the canvas. It remains a clear example of the artist's ability to blend folklore, personal history, and classical themes into a singular, cohesive visual language.
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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
The Fall of Icarus - 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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