The Rooster in Love - Marc Chagall
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Beskrivning
A dreamlike 1950 composition by Marc Chagall, featuring a large rooster observing an intimate couple amidst swirling blue tones.
Marc Chagall painted The Rooster in Love in 1950, a period when his work frequently explored themes of romance, memory, and folklore. The composition features a large, anthropomorphic rooster head on the left, which gazes towards a couple embraced in the lower right. The rooster, a recurring motif in Chagall's iconography, often represents the artist himself or a witness to the intimate scenes he depicts.
The background is dominated by deep, atmospheric blues and blacks, suggesting a dreamlike or nocturnal setting. A disembodied eye floats in the upper right corner, a common element in Chagall's visual language that implies a watchful, perhaps divine or subconscious, presence. The couple is rendered with soft, fluid lines, contrasting with the sharper, more graphic treatment of the rooster. The swirling, cloud-like forms surrounding the figures add a sense of movement and ethereal quality to the scene.
Chagall's application of paint is layered and textured, with the blue tones creating a sense of depth that pulls the viewer into the narrative. The contrast between the warm, fiery oranges of the rooster and the cool, dark blues of the environment creates a visual tension. This work reflects the artist's ability to blend personal mythology with universal human experiences. By placing the figures within a fantastical space, Chagall removes them from a specific time or location, allowing the emotional content of the embrace to take precedence over realistic representation. The painting remains a clear example of his unique approach to narrative art, where reality and imagination exist in a single frame.
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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 Rooster in Love - 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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