Chagall by José María Faerna (gen. ed.)

By José María Faerna (gen. ed.)

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The Great Parade, 1979-80. Another circus scene with familiar cast of characters: trapeze equestriennes, clowns, so all artists, its musicians, infused with intensely bright color. 31 W 26 Preparatory sketchfor Introduction t<> the Jewish An Theater, 1920. collaboration with the Kamerny Jewish models and « series large paintings produced at the request [lea is <>/ Granovski, tins one among Theater resulted in < hagall's numerous scenographic <>t the theater's director, them. 27 Model/or the set of The Magic Piute, 1967.

Chagall making use of an earlier painting, The Harlequins, in which Bella was shown in a happy circus scene. Chagall divided that painting in two and, starting with some of the fragments of the original composition, painted two scenes marked by the memory of his dead ivife. The contrasts of light and dark in these paintings give both an air of melancholy. 45, 46 About Her, 1945. created these two works by 49 47 Exodus, 1952-56. The luminous yellow figure of the crucified Christ symbolizes the sacrifice of the Jewish people, wrapped in darkness.

Many of these paintings are portraits of the two women in his life, Bella Rosenfeld and Valentine Brodsky. In other paintings he depicts himself and his lover in more or less idyllic surlovers, encircling roundings. Two motifs are often associated with these loving demonstra- tions of extravagant lyricism. characters with a freedom that bouquet of flowers. 36 The lifts first is flight, them where love infuses off the Earth. The second is his the City, 1924. To Chagall, love expression offreedom.

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