Chagall, unconsciously conscious

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Allusions to fiddlers on the roof, human animals, goats, fishes, cats, birds, Christs, Virgins, rabbis, flower bouquets, circus performers, lovers… Chagall leads us, through his work, towards new horizons that we can cruise floating about.

His language is clean and clear; his cosmos, simple in appearance but of a truly complex nature. He fused together his experiences and overlapping vocabularies; the popular elements of Russian art were joined with the experiments of the early-20th-century avant-gardes, whose searches and techniques he became acquainted with during his stay in Paris.

Through his work, the artist narrates his life and experiences to us, blending realities and creating an unmistakable language. Scenes of his village in Belarus and events that took place in Paris coexist in his pieces, connecting his original referents with the ones from the place where he learned the latest.

Magical, religious, musical, and oneiric Chagall

“Art seems to me to be a state of soul more than anything else. If I create from the heart, nearly everything works; if from the head, almost nothing.” To Chagall, colors transmit emotions, and within his paintings he frees them from the line; free from boundaries, they go beyond the shapes and tell us about the state of their/his soul, creating their/his own chromatic language. Color, once loose, takes a life of its own; it plays a leading role.

Chagall within our reach

Starting now and until February 3rd of the upcoming year, there is going to be an exhibition in the Palazzo della Ragione de Mantua, Italy, where it is possible to visit the murals he created, in 1920, to decorate the walls of the State Jewish Chamber Theater in Moscow. In this exhibition, his illustrations on the book Dead souls, by Gogol; on Fables, by La Fontaine; and on the Bible are also showcased.

Chagall to me

This week we will visit the works that the Thyssen museum, Madrid, has in its permanent collection: Nude (1913), The House in Grey (1917), The Rooster (1928), Madonna of Village (1938-1942).

After talking about the peculiarities of his language, we propose a similar experiment: to paint a dream.

Photography: Oscar Rivilla
Music: Dr. Symptosizer played at the violin by Bjorn Petersen
Instruments courtesy of Júlia Santiago García’s school Ritmo y Compás
Conceptual Design: Carolina Verd


Main picture:
Courtesy of Globally: Dress by Ba&sh.
Courtesy of Finally: Shoes by Stuart Weitzman

Second picture:
Courtesy of Finally. Dress by Liujo. Shoes by Stuart Weitzman

Third picture:
Courtesy of Finally. Dress by Liujo. Shoes by Stuart Weitzman

Fourth picture:
Courtesy of Finally. Dress by Liujo. Shoes by Stuart Weitzman

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