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Les maries a l’ane vert

Origin France
Period 1950-1980
Materials Oil and brush and ink on canvas.
W. 10.6 in; H. 16.15 in;
W. 26.92 cm; H. 41.02 cm;
Condition Excellent.
Creation Date 1967
Description Marc CHAGALL (1887-1985)
Les maries a l’ane vert

Stamped with the signature Marc Chagall (lower right).
16-1/8 by 10-5/8 in.
41.1 by 27 cm
Painted in 1967.

The authenticity of this work has been confirmed by the Comité Chagall.

Estate of the artist
Sale: Galerie Kornfeld, Bern, June 15, 2007, lot 13
Private Collection, Switzerland (acquired at the above sale)
Private Collection, Long Island, NY

Osaka, Takashimaya Art Gallery; Kyoto, Takashimaya Art Gallery; Yokohama, Takashimaya Art Gallery; Tokyo, Takashimaya Art Gallery; Okayama, Okayama Prefectural

Museum of Art & Gifu, Museum of Fine Arts, Marc Chagall, La Réminiscence de l’amour, 2012, no. 50, illustrated in color in the catalogue

Brides and grooms repeatedly appear in Chagall’s art throughout the span of his eighty-year career. Seemingly enchanted by the symbolic interlocking of two souls in matrimony, the artist’s happy marriage to his childhood sweetheart Bella, ending only with her death in 1944, compounded his fascination with the subject. The presence of a bride in a white gown in the present 1967 composition is a poignant evocation of his happy relationship in a powerful composition which succeeds as a touching ode to young love.

The couple hover beneath familiar elements of Chagall’s visual vocabulary: a floating acrobat, a green donkey and a candelabra. The deep, cavernous-blue of the background is enlivened by the rich splashes of purple, green, yellow, white and red. The symbol of the green donkey appears in Chagall’s 1911 composition L’Ane vert in the collection of the Tate Modern, London, also set against a deep blue background. The style of L’Ane vert is naïve but the imagery coheres neatly with the artist’s subsequent preoccupation with his Russian heritage and Jewish ancestry as two peasants take charge of their pack animal. The candelabra further heightens the artist’s nostalgic allusion to his Jewish hometown.
Styles / Movements Modernism, Post Impressionism
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