By Benjamin Harshav

Marc Chagall (1887-1985) traversed a protracted path from a boy within the Jewish light of payment, to a commissar of paintings in innovative Russia, to the placement of a world-famous French artist. This booklet provides for the 1st time a complete choice of Chagalls public statements on artwork and tradition. The files and interviews make clear his wealthy, flexible, and enigmatic paintings from inside his personal psychological global. The e-book 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 finds the travails and achievements of his existence as a Jew within the 20th century and his perennial matters with Jewish id and future, Yiddish literature, and the country of Israel. This assortment comprises annotations and introductions of the Chagall texts through the popular student Benjamin Harshav that elucidate the texts and produce the altering cultural contexts of Chagalls lifestyles. additionally featured is the interpretation via Benjamin and Barbara Harshav of the 1st e-book approximately Chagalls paintings, the 1918 Russian The artwork of Marc.

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Instead of a painting inside a theater, he included the whole theater in his paintings: The stage was constructed by Chagall, actors' faces were painted, and 34 all In Revolutionary Russia: 1 9 7 8—1 9?? "^ Granovsky's innovative theater underwent a transformation under the impact of Chagall's painting. For a short time, it became one of the most famous theaters in Russia and in Western Europe. " walls," said Efros, an apartment, run-down, its New York. tenants had fled. " didn't see anything but a vestige of a kitchen, and "here"?

Nevercome for various academicisms. All the talk about theless, the time has not "naturalism" and "populism" new. The life of the is premature. The old did not produce the new is always different, that is, the new moves forward. New living forms with new contents appear. Hence, the treasures of museums and burial caves can serve us only as an example of wonderment, but not as a model for imitation. The real tragedy is in those waves of stylization that flood us time and again, in the turn to the distant culture Bach, Offenbach, or Zola.

Of crisis, . For twenty- five years same ideas, The development The 1 have worked in even more stubbornly than earlier trends of modern art began and schools such art, and continue to hold the at first. as especially with Impressionism. Neo- Classicism with the artists David and Ingres, Romanticism with Delacroix and Naturalism with Courbet— all those remained mainly in the domains of ideology, and ideology is much different, not in this my view, from the ideology of previous centuries of art.

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