Horsewoman on Red Horse - Marc Chagall
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Beskrivning
A dreamlike composition by Marc Chagall, featuring a figure atop a crimson horse against a deep blue, nocturnal sky.
Marc Chagall painted Horsewoman on Red Horse in 1964, a period when his work frequently returned to the dreamlike, non-linear narratives that defined his career. The composition features a central figure mounted upon a large, crimson horse, set against a deep, nocturnal blue background. This contrast between the warm, saturated red of the animal and the cool, atmospheric blues creates a visual tension typical of Chagall's later output.
The figure of the horsewoman is rendered with a sense of weightlessness, a recurring motif in the artist's work that suggests flight or suspension. Below her, a secondary figure appears, accompanied by smaller, enigmatic forms that populate the lower portion of the canvas. These elements, including the moon-like orb in the upper left, contribute to the sense of a private, mythological world. The paint application is textured, with visible brushwork that adds a tactile quality to the surface of the canvas.
Chagall often drew upon his memories of Vitebsk and his Jewish heritage, yet this work leans further into the realm of pure fantasy. The figures do not obey the laws of gravity or perspective, instead existing in a space governed by emotional logic. The floral patterns on the woman's dress and the presence of smaller, indistinct shapes suggest a connection to the natural world, albeit one filtered through the lens of memory and imagination. This piece demonstrates the artist's ability to maintain a consistent visual language across decades, using colour as a primary tool for emotional expression rather than descriptive accuracy.
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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
Horsewoman on Red Horse - 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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