Paris (1910-14) were crucial to his
art development. There are few
works from this period in the
exhibit because most were left
behind in Paris when Chagall
returned to Vitebsk to see his
fiancee, Bella Rosenfeld, in 1914.
An exception is Study for Rain,
painted in Paris in • 1911. Fusing the
real world with that of his imagina-
tion, this work contains the earliest
appearances of hovering figures.
Paris transformed Chagall, who
said, "I was born in Vitebsk; I was
also born in Paris."
It was in Paris that Chagall estab-
lished his unique style, a coalescing
of Jewish and Russian sources with
the established avant-garde. He
developed a form and a style very
much related to the experience in
the shred, GoodrIK.-1 explains.
Nostalgia for his chasidic roots is
also reflected in The Jewish
Wedding, circa 1910, in which the
artist contrasts the exuberance of
the dancing couple with the sedate
pose of the wedding couple dressed
in Western attire.
Chagall, who had already begun tt
receive major acclaim as an important
artist, had intended to stay in Vitebsk
for only three months when he
returned in 1914.
The outbreak of World War I pro-
longed the visit by eight years. It was
during these years that Chagall paint-
ed most of the works seen in the exhi-
bition.
In an effort to discover his roots,
Chagall painted 70 documents depict-
ing the life and landscape around
Vitebsk, including many family por-
traits.
It was also a time when he began a
series of self-portraits, beginning with
Self-Portrait at the Easel created in
1914.
The painting reveals the introspective
process of the artist coming to terms
with his roots. Here the artist looks
pensively into the distance at his unseen
subject. Dressed in a performer's cos-
tume in front of a blank canvas, the
work reflects the process of personal
reinvention. Chagall continued to paint
self-portraits throughout life in a never-
ending search for identity.
The Apparition, a self-portrait dated
1917 18, is one of his last major
paintings made in Vitebsk, painted
after a work by El Greco that Chagall
might have seen in Paris. In this
painting Chagall replaces the figure of
the Virgin Mary with a portrait of
himself at the easel.
During the war, Chagall was con-
-
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Marc Chagall: "The
Infant's Bath," 1916
The Chagalls' daughter,
Ida, is the focus of
many domestic scenes.
scripted, but
with the help of
his brother-in-
law, secured a
desk job. Vitebsk
became a front-
line town, giving
Chagall a birds-eye view of the wound-
ed, the hungry and the displaced. A
body of somber black and white ink
drawings, rendered in the style of
German Expressionism, reflects
Chagall's reaction to the ravages of war.
Chagall wanted to escape the harsh
and dreary world of his father and
Vitebsk, yet it was precisely that world
that he celebrated on canvas. "He
turned his world into something poet-
ic, and the further he got from it, the
more he was able to remember it in a
nostalgic way," says Goodman.
That grim reality is depicted in
Chagall's expressionistic portrait of his
father, a laborer in a herring ware-
house, painted in 1914. In the paint-
ing, the father looks downcast and
exhausted. The bubbe and the family
cat are watching Papa having his tea.
Both figures wear the peasant clothing
of observant chasidic Jews.
Jew in Bright Red (1915) is the result
of a chance encounter with a Vitebsk
beggar. In the painting, Chagall
endows the beggar with the spirituality
of a migrant holy man or chasidic
rabbi, surrounded by an arc of sun-
light filled with Hebrew letters from
Genesis. The brilliant colors and shal-
low background reflect the formal
concepts of Fauvism and Cubism
Chagall had mastered in Paris.
In 1915, Chagall and Bella overrode
the objections of her parents and mar-
ried. Their love would become the
source of inspiration for Chagall's can-
vases for more than 35 years.
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