web analytics
October 2, 2014 / 8 Tishri, 5775
At a Glance
Sections
Sponsored Post
Meir Panim with Soldiers 5774 Roundup: Year of Relief and Service for Israel’s Needy

Meir Panim implements programs that serve Israel’s neediest populations with respect and dignity. Meir Panim also coordinated care packages for families in the South during the Gaza War.



Home » Sections » Arts »

Marc Chagall At TEFAF Maastricht

Weck-042012-FrontPg

The European Fine Art Fair (TEFAF) March 16-25, 2012 (25 year anniversary) Maastricht, Netherlands http://www.tefaf.com/

Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.

“There is more Chagall than usual this year. I don’t know why, but each year there seems to be one artist who is the main artist of the year. Next year there may be only one or two,” says Anthony Brown, managing director of the London-based gallery Connaught Brown.

Ben Springett, manager and head of sales at Alon Zakaim Fine Art in London, agrees. “There do seem to be more Chagalls this year than perhaps before, although they have always been popular at the fair,” says Springett, whose gallery was participating in the fair for the first time. “Several people have said that the strength of the modern section at the fair has grown over the past few years.”

Marc Chagall. Autour de l'equilibriste. 1975-78. Oil on board. 24 x 16 ins / 60 x 40 cm.

Chagall’s “Les maries aux deux violonistes au cirque,” which was exhibited at the Alon Zakaim Fine Art booth, shows a bride and groom at the circus. The couple is surrounded by fiddlers, what might be a man with a donkey’s head, acrobats with wings, and flower bearers. In the top right corner of the piece, a painter (perhaps a self portrait of Chagall?) stands at an easel with a canvas depicting Jacob’s ladder with an angel climbing heavenward.

The conflation of angels and acrobats is an interesting move on Chagall’s part. At first blush, all of the danger and the excitement of acrobatics is lost if the performers have wings. Michael Jordan’s soaring dunks were so impressive because he is human; if he could suspend himself mid-air indefinitely it wouldn’t be nearly as arresting an image to see him pull off seemingly extra-human moves.

On the other hand, Chagall’s circus of angels—superimposed on Jacob’s dream of the ladder, so that the acrobat’s swing becomes a rung of a ladder—bridges the human and heavenly realms. That is after all what Jacob’s dream is about, and also the impression one gets from watching people flying on high wires as if they are birds.

Chagall brings the circus-Jacob’s ladder comparison full circle by depicting a sleeping (or dead?) figure lying on the ground in the circus ring. The figure, which seems to lie among red, orange, green, and blue petals, could be a dreamer imagining the Jacob’s ladder painting within the imagined circus, or it could be a fallen acrobat-angel. Just as some can soar, some remain earthbound and asleep, Chagall seems to say.

Marc Chagall. L'homme à la chèvre. 1950. Gouache, India ink and pastel on paper. 62.5 x 48.5 cm.

Another Chagall work at Alon Zakaim, “L’homme à la chèvre,” depicts a bearded man carrying a goat. A boy stands beside the man, as a purple village unfolds behind them. The blood-red moon and the red and orange sky almost suggest flames, which appear even warmer when juxtaposed with the cool colors in the foreground. A few figures can be made out in the shtetl in the background, but the most conspicuous character is a bearded man exiting stage left with a cap and a large sack slung over his shoulder.

According to an essay written by the Koller auction house, which previously owned the work, Chagall was influenced in “L’homme” by his childhood in Vitebsk, and “he often painted such dreamscapes as a dialogue with his hometown.” The man, according to the essay, may be Chagall’s uncle Neuch, who was a cattle dealer. “A young Chagall loved to accompany his uncle when he went to buy cattle from the peasants in the region, and once commented, ‘How happy was I when you allowed me to drive with you on the bumpy barrow!’” according to the essay. The young boy in the work, then, may be a self portrait of Chagall.

Marc Chagall. Over Vitebsk. 1915-20. Oil on canvas. 26 3/8 x 36 1/2" (67 x 92.7 cm). The Museum of Modern Art.

Yet, the painting is also confusing, the essay continues, because the man’s intentions for the goat remain ambiguous, the sky is “threatening” due to the “intense and thunderous horizon,” and there is the man with the sack and the people lying on the streets. The scene could be one of figures fleeing the town, and it may record “the discriminations and pogroms of the Jewish people which took place in Tsarist Russia. Chagall once said: ‘If I weren’t a Jew then I wouldn’t be an artist,’” the essay concludes.

About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at mwecker@gmail.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 “Marc Chagall At TEFAF Maastricht”

Comments are closed.

SocialTwist Tell-a-Friend

Current Top Story
Car Smashed in A-Tur 2
4 Women Survive Near Lynch on Mount of Olives
Latest Sections Stories
West-Coast-logo

Over 350 people celebrated the engagement of Fire Commissioner Andrew Friedman and his fiancé, Chanie Herskovic, at their Hancock Park home Sunday.

West-Coast-logo

Why is it so important to report a hate crime or hate incident?

Practically to his last days the patriarchal founder was at his office almost daily and took an active interest in all matters connected with the business.

“You want to know what this wine looked like, which wine King David drank, white or red…. We can see if it’s red or white, strong or weak.”

I should be pursuing plateaus of pure and holy, but I’m busy delving and developing palatable palates instead.

Brown argues that this wholehearted living must extend into our parenting.

If we truly honor the other participants in a conversation, we can support, empathize with, and even celebrate their feelings.

I witnessed the true strength of Am Yisrael during those few days.

She writes intuitively, freely, and only afterwards understands the meaning of what she has written.

“I knew it was a great idea, a win-win situation for everyone,” said Burstein.

Not knowing any better, I assumed that Molly and her mother must be voracious readers.

“I would really love my mother-in-law …if she weren’t my mother-in-law.”

More Articles from Menachem Wecker
Menachem Wecker

The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”

Weck-051812

It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.

One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)

Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.

It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.

Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.

The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?

Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.

Printed from: http://www.jewishpress.com/sections/arts/marc-chagall-at-tefaf-maastricht/2012/04/19/

Scan this QR code to visit this page online: