Self Portrait in Profile - Marc Chagall
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Beskrivning
A contemplative self-portrait by Marc Chagall, featuring the artist in profile alongside a floral arrangement, rendered in expressive blue tones.
This work captures Marc Chagall during a period of transition, likely painted around 1914. The composition features the artist in profile, his face rendered in cool, atmospheric blue tones that suggest a contemplative or melancholic state. His features are simplified, reflecting the influence of early twentieth-century avant-garde movements on his personal style. The figure leans toward a bouquet of flowers, which provides a stark visual contrast to the monochromatic treatment of his skin and clothing.
The background hints at an urban environment, with architectural forms visible through what appears to be a window. This juxtaposition of the intimate, personal portrait with the external world is a recurring theme in Chagall's oeuvre. The brushwork is loose and expressive, prioritising emotional resonance over strict anatomical accuracy. The palette is dominated by deep blues and shadows, punctuated by the lighter, warmer tones of the floral arrangement in the foreground.
Chagall often utilised his own image to explore themes of identity, memory, and displacement. By placing himself in profile, he creates a sense of distance, as if the viewer is observing a private moment of reflection. The painting avoids rigid structure, instead relying on the interplay of colour and form to convey a specific mood. The flowers, while rendered with less detail than the face, act as a bridge between the artist and the space he occupies. This piece offers an insight into the artist's internal world during his formative years in Paris, where he absorbed various stylistic influences while maintaining his distinct, dreamlike approach to representation. The work remains a clear example of his ability to blend personal narrative with subjective colour choices, creating an image that feels both grounded and ethereal.
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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
Self Portrait in Profile - 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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