web analytics
April 26, 2015 / 7 Iyar, 5775
At a Glance
Sections
Sponsored Post


Home » Sections » Arts »

Chagall Redux


King David (1957) hand-colored etching by Marc Chagall
Courtesy Haggerty Museum of Art, Gift of Patrick and Beatrice Haggerty
Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

King David (1957) hand-colored etching by Marc Chagall Courtesy Haggerty Museum of Art, Gift of Patrick and Beatrice Haggerty Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

Nassau County Museum of Art
One Museum Drive, Roslyn Harbor, New York
Nassaumuseum.org 516 484 9338
Tuesday – Sunday; 11am – 4:45pm: Adults $10, Seniors $8
Until November 4, 2012

Chagall’s reputation needs no burnishing and yet refinements are always welcome. Indeed the Nassau County Museum of Art has mounted a wonderfully extensive survey of Chagall’s works with a unique emphasis on his 1957 Bible series of hand-colored etchings that significantly casts many aspects of his work as uniquely Jewish. Amid the complexity of Chagall’s entire oeuvre, this is deeply significant in the exhibition history of non-Jewish institutions.

The current show is sensitively curated by former director and guest curator Constance Schwartz. The first floor features an exciting survey of many of his early works from both private and public collections (including A Pinch of Snuff(1922) – a rabbinic figure about to take a olfactory hit) all of which emphasize the wide range of Chagall’s imagination and pure joy of image making. Further along we see examples from his etchings of Gogol’s “Dead Souls,” his problematic images of “universalist” crucifixions, clowns, circuses, and many playful pastiches of his signature motifs; flowers, lovers, flying animals and other fantasia all held together with vividly beautiful color. It is tour-de-force of Chagall the master conjurer of instant visual delights.

Crossing the Sea (1957) hand-colored etching by Marc Chagall
Courtesy Haggerty Museum of Art, Gift of Patrick and Beatrice Haggerty
Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

From a biographical perspective Chagall’s last painting, Job, finished on March 28, 1985, the day he died, is perhaps the most moving. At the age of 97 Chagall, who had continued to create artwork seemingly unabated, was “deeply aware of his own mortality,” and therefore this work and its subject takes on added significance. The gouache on paper was actually a preparatory image for a massive tapestry that was in fabrication at the time for the Rehabilitation Institute of Chicago, where it has been since 1986. This commissioned work, created in close collaboration with the renowned weaver Yvette Cauquil-Prince, depicts Job and his wife and was dedicated to the disabled of the world, a more than fitting appropriation of the tragic story of Job. Poignantly it is a reflection of Chagall’s own tortured struggle with faith, Jewish identity and the vicissitudes of 20th century history.

Upstairs on the second floor 50 of 100 hand-colored images from Chagall’s 1957 opus “Bible” are displayed in quiet splendor. Next to each 24” x 18” image is the biblical text. In a superficial way we are well accustomed to these images. As we have recounted many times in these pages, Chagall first began his Bible etchings from 1931 to 1939. Interrupted by the war and exile he returned to France in 1952 and finally completed the black and white etchings in 1956 when they were published, along with a separate limited edition of etchings that were hand-colored by Chagall himself. This selection at the Nassau County Museum of Art is on loan from the Haggerty Art Museum of Marquette University in Milwaukee.

It is crucial to note a fundamental difference between the black and white edition and the hand-colored images currently on display. Aside from minor printing variations between sets, all of the black and white images are identical. The opposite is the case with the hand-colored etchings; each is totally unique since each was thoughtfully and sparingly colored one by one. And most importantly, each was the artist’s refinement and comment on work he had done up to 24 years earlier.

Descent Towards Sodom (1957) hand-colored etching by Marc Chagall
Courtesy Haggerty Museum of Art, Gift of Patrick and Beatrice Haggerty
Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

Almost 60% of the etchings were originally done before Chagall’s exile, the War, the Holocaust, and the devastating death of his beloved first wife Bella. The Chagall hand-coloring his interpretations of the biblical narrative was a deeply different man from the man who first created them.

Descent Towards Sodom isolates the patriarch Abraham as each angel, one red, one green and one yellow, contrasts with the somber blacks of our forefather’s cloak. The mood is filled with a mournful tension as Abraham realizes the terrible and total destruction about to occur.

Interestingly the theme of violence is further developed in Moses Spreads Darkness over Egypt. Here Moses is depicted as slightly cross-eyed demonic prophet, his staff raised heavenward, while the angel, here accented is a flash of pinkish red, is positively aggressive.

Violence is again evoked in Crossing the Seaas we observe the Children of Israel led by a yellow clad angel while Moses in pure black and white orchestrates the miracle in the lower left. While the sky blue of much of the sea seems to conflate sea and sky, the red of the drowning Egyptian army fully seals their watery fate.

Elijah Touched by an Angel (1957) hand-colored etching by Marc Chagall
Courtesy Haggerty Museum of Art, Gift of Patrick and Beatrice Haggerty
Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

In many of the Bible images Chagall abandons direct narrative and instead focuses on certain psychological “portraits” of biblical characters. King Davidis transformed here by his yellow crown, face and mantle that elegantly contrast with his earth red and black gown. He now towers over his people arrayed before the anachronistically depicted Tower of David.

Chagall’s powers of empathy are of course central to his ability to depict such a vast range of biblical personalities. Elijah Touched by an Angel is perhaps the most heartbreaking image in the suite. The prophet in I Kings, 19:5 has fled the murderous Queen Jezebel to the wilderness of Beer-sheba and despaired of his life, proclaiming, “It is enough! Now, Hashem, take my soul…” When in absolute weariness Elijah falls asleep, an angel comes and gently touches his head, commanding him ‘to get up and eat for you have far to go and much to do yet.’ Chagall’s Elijah is a chassidic rebbe from deep within the artist’s own past and a prophecy of his own future. Even at the age of 70 Chagall had almost thirty more years of making some of the richest Biblical art the 20th century had ever seen. His legacy is shown to great advantage in this stunning exhibition.

About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at rmcbee@nyc.rr.com


If you don't see your comment after publishing it, refresh the page.

Our comments section is intended for meaningful responses and debates in a civilized manner. We ask that you respect the fact that we are a religious Jewish website and avoid inappropriate language at all cost.

If you promote any foreign religions, gods or messiahs, lies about Israel, anti-Semitism, or advocate violence (except against terrorists), your permission to comment may be revoked.

No Responses to “Chagall Redux”

Comments are closed.

Current Top Story
Car - A-Tor
Updated: Three Injured in Jerusalem Terror Attack, Ambulances and Mayor’s Car also Attacked
Latest Sections Stories
Food-Talk---Eller-logo

“People who never buy cookbooks are getting this one,” said Victoria. “They read it cover to cover and find it so interesting.”

South-Florida-logo

We have recently witnessed how other minorities deal with even perceived danger aimed at their brothers and sisters. They respond in great numbers.

South-Florida-logo

The Hebrew Academy students took part in all categories and used successful and innovative techniques to achieve their goals.

“The objective behind establishing small communities as places for relocation was a remedy for the excessive cost of housing and education in the large New York metropolitan market,” Mr. Savitsky explained.

Jewish Democrats did not entirely trust the son of Joseph Kennedy, a man broadly considered to be both anti-Semitic and pro-Nazi.

The teenage years are not about surviving. They are about thriving.

Every moment was a gift. I held each one, savoring.

We arrived in Auschwitz on Thursday, January 30, 2014. My seminary was taking us to see where the prisoners were kept. When we got there, I stepped off the bus in complete and total silence. I was in the back, and when we got to the gate I hesitated and started shaking uncontrollably. I couldn’t […]

From the moment Israel was declared a Jewish state, it has been the subject of controversy and struggle.

Now that Pesach is over, we return you to your regularly-scheduled pressing questions:   Dear Mordechai, Can I use a nose hair trimmer during Sefirah? Harry Lipman   Dear Harry, Yes, as long as your nose hairs are so bad that they’re affecting your job. Like if you have a desk job, and they interfere […]

It is very natural for kids to want attention and to be jealous of each other, especially when there is a new baby.

During the Second World War, a million and a half Jewish soldiers fought in the Allied armies, the Partisan units in Eastern Europe, and the anti-fascist underground movements in Western Europe and North Africa. These Jewish fighters won over 200,000 medals and citations. The Museum of the Jewish Soldier in World War II in Latrun, […]

The 2-day real estate event will take place in Brooklyn on April 26 and 27.

More Articles from Richard McBee
Jerusalem to Jericho Road: photograph by Chanan Getraide
“Chanan Getraide Photographs”: 2004 exhibition at Hebrew Union College Museum

“We are living in a Golden Age of Jewish Art, but don’t know it.”

McBee-062014-Outside

He refuses to flinch from our painful history, perhaps finding a kind of solace in the consistency of irrational enmity directed against us.

“Vidduy: The Musical” breaks through the formidable barrier of repetitive confession to allow us to begin to understand what is at the heart of this fundamental religious act.

A fascinating glimpse into the rich complexity of medieval Jewish life and its contemporary relevance had intriguingly emerged.

Silverstein’s work has long concerned itself with the intersection between the personal and Jewish Biblical narrative, significantly explored in this column in “Brighton Beach Bible” (July 27, 2009).

Not surprisingly the guardians of synagogue tradition is male dominated in both Moses Abraham, Cantor and Mohel and Synagogue Lamp Lighters.

Neither helpless victims nor able to escape the killer’s clutches, the leaders had to make impossible choices on a daily basis in a never-ending dance with the devil.

Bradford has opted to fully exploit the diverse possibilities of the physical surface by concentrating on the three-dimensional application of paint (impasto) and other material.

Printed from: http://www.jewishpress.com/sections/arts/chagall-redux/2012/10/25/

Scan this QR code to visit this page online: