By Benjamin Harshav
Marc Chagall (1887-1985) traversed an extended path from a boy within the Jewish faded of payment, to a commissar of artwork in innovative Russia, to the location of a world-famous French artist. This publication offers for the 1st time a accomplished number of Chagalls public statements on artwork and tradition. The records and interviews make clear his wealthy, flexible, and enigmatic paintings from inside of his personal psychological global. The booklet increases the issues of a multi-cultural artist with numerous intersecting identities and the tensions among modernist shape and cultural illustration in twentieth-century paintings. It unearths the travails and achievements of his lifestyles as a Jew within the 20th century and his perennial matters with Jewish id and future, Yiddish literature, and the nation of Israel. This assortment comprises annotations and introductions of the Chagall texts by means of the well known pupil Benjamin Harshav that elucidate the texts and bring the altering cultural contexts of Chagalls lifestyles. additionally featured is the interpretation through Benjamin and Barbara Harshav of the 1st e-book approximately Chagalls paintings, the 1918 Russian The paintings of Marc.
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Marc Chagall (1887-1985) traversed an extended course from a boy within the Jewish light of cost, to a commissar of artwork in innovative Russia, to the location of a world-famous French artist. This booklet offers for the 1st time a accomplished number of Chagalls public statements on artwork and tradition.
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Extra resources for Marc Chagall on Art and Culture
And political are going through. contemporary What does terday. In the ourselves in the elements of spiritual and And we need enormous strength our age, foreshadowing the fu- spirit to live in revolution in art all mean? This revolution wasn't born yes- whole history of art you encounter isolated names of revolu- tionary innovators, painters, composers, and poets. More than once they have rejected the stagnant culture and have created new eras. But our age has given art an extraordinary stability; it has clearly set our tasks and has freed us from the yoke of the academies and the professors.
Had dreamed of work in the Tugendhold wrote somewhere that paint psychological sets. I my objects thought about it. theater. are alive, 1 Back in 1911, could, he said, Indeed, in 1914, Tugendhold recommended to Tairov, the director of the Moscow Chamber Theater, that me to he invite paint Shakespeare's Merry Wives of Windsor. We met and parted in peace. '^ Sitting in Vitebsk— com- missaring away, planting art all enemies— I was overjoyed 1918'^ to to to get Granovsky's and Efros's invitation in work in the newly opened Yiddish theater.
This is clear both to its friends and its enemies. But what speech can 1— an artist— make on this anniversary? Wouldn't many feel it strange? No doubt. But that is wrong. Art lived and will continue to live by its And here is why. own laws. But in its depths, it undergoes the same stages experienced by all humanity, advancing toward the most revolutionary achievements. And if it is true that only now, when humanity has taken the road of the ultimate Revolution, can we speak of Humanity with a A only if it is capital H, even more revolutionary in its so, can Art be written with a capital essence.