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- - C huck Muer's Seafood Tavern continues to win rave reviews from the food critics and the area's most discerning palates. The menu features over forty entrees including a dozen or more offerings of fresh fish, a variety of seafood selections, St. Louis BBQ Ribs, Filet Mignon and Chargrilled Lamb Chops. And now you can join us for lunch or dinner and enjoy our award winning food all at truly Don't miss rola Lewis perfonn wedinnginay ourkuungghe great savings. Simply present the following certificates to your server upon ordering. Friday beginning at 7:00 pm CHU2(__?4,.. L JER'S .44/144: SEAFOOD 'binfiefr: 4044 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. Monday through Saturday 11:30 till 4:00 Monday through Thursday 4:00 till 10:00 Friday and Saturday 4:00 till 11:00 Sunday 3:00 till 9:00 Join us for - 1,4 1 14- ibe ,1-1914fr " every TA V E imilmmimm . 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