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April 19, 1985 - Image 63

Resource type:
Text
Publication:
The Detroit Jewish News, 1985-04-19

Disclaimer: Computer generated plain text may have errors. Read more about this.

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1 4
THE DETROIT JEWISH NEWS

chum likes me at the mo-
ment," said Chagall. And, in-
deed, many mediums liked
him. His huge murals outside
New York's Lincoln Center's
Metropolitan Opera are a de-
light. His mosaics and tapes-
tries lend a lightness to Is-
rael's Knesset; which, because
of Chagall's spritely style, is
one of the world's more ap-
pealing centers of govern-
mental debate. His stained
glass windows at the United
Nations, at cathedrals in
France and Zurich, at the
Hadassah Hospital in Je-
rusalem, all have, as The New
York Times' art critic, John
Russell said, "landmark sta-
tus."
For a good part of his ca-
reer, Chagall was an itiner-
ant. Born in Russia in 1887,
he went to Paris in 1911, re-
turned to Russia in 1914, left
for Berlin and again to Paris
in 1922. He fled from the
Nazis to the U.S. in 1941, and
settled permanently in France
after the war. His indepen-
dence of style was reflected in
his travels. In Russia, he
broke with the officially sanc-
tioned "socialist realism." In
Paris, he spurned the pleas of
the surrealists to join their
movement. "I want an art of
the earth,' he said, "and not
merely an art of the head."
Neither realist nor surreal-
ist, Chagall carved out a
school for himself. As Arnold
Lehman, director of the Bal-
timore Museum of Art, said,
"Chagall combined styles —
cubism, constructionism, fu-
turism and others — into his
own unique blend. He wasn't
an innovator in the sense that
Picasso was. But he main-
tained a high consistency of
interest. Gentleness, a ma-
gical manner, a religious zeal
and a humanitarianism were
balanced in his work."
Chagall's work was, by
turn, humorous and symbol-
ic, full of ritual and a vast and
deep feeling. By the time he
had left the village of Vitebsk
at the age of 19 to study art
in St. Petersburg, he had ab-
sorbed enough of hasidic and
shtetl life to provide.him with
a lifetime of subject matter.
From this came a world that
was topsy-turvy and almost
totally devoid of gravity. It
was peopled by fish playing
instruments, iwy nymphs, by
sartrys. It was a world with
a life of its own, with color
that had its own logic.
And yet, it all had an inner
harmony and integrity. There
was in Chagall a sensibility
that miraculously kept this
world together — intact, yet
dream-like, convincing, yet
ethereal. Along with such dis-
parate 20th century artists as
Picasso and Salvador Dali,
Chagall gave us a world that
uniquely belongs to him. And
at the same time, he was the
heir to a heritage that unique-
ly belongs to all Jews.

,

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Friday, April 19, 1985 63

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