The Falling Angel - Marc Chagall
Archival giclée
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Description
A complex, multi-layered composition by Marc Chagall, featuring a descending crimson angel amidst symbols of Jewish heritage and personal memory.
The Falling Angel is a complex composition that occupied Marc Chagall for over two decades. Begun in 1922 and completed in 1947, the work reflects the artist's preoccupation with Jewish identity, personal memory, and the turbulent history of the twentieth century. The canvas functions as a dreamlike assembly of disparate motifs, typical of Chagall's approach to narrative painting.
At the centre of the work, a large, crimson angel descends toward a small village. This figure dominates the visual field, its saturated colour contrasting with the darker, moody tones of the surrounding space. To the left, a bearded man holds a Torah scroll, a recurring element in Chagall's work that links the scene to his upbringing in Vitebsk. Other motifs include a violinist, a clock, and a crucifixion scene, which appears in the background. These symbols are not arranged according to traditional perspective, but rather follow a logic of emotional association.
The painting captures a sense of displacement and spiritual unease. The inclusion of the crucifixion, often used by Chagall to represent the suffering of the Jewish people, adds a layer of historical weight to the personal iconography. The brushwork is expressive and layered, creating a sense of movement that mirrors the falling motion of the central figure. By combining religious imagery with scenes of daily life, Chagall creates a visual language that is both intimate and expansive.
This print captures the depth of the original oil painting, preserving the texture of the brushstrokes and the intensity of the crimson and deep blue pigments. It is a piece that invites close observation, as the viewer discovers new details within the dense, atmospheric composition. The work remains a significant example of how Chagall integrated his cultural heritage into the visual vocabulary of modern art.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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 Falling Angel - 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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