Сочинение про марка шагала на английском

Marc Chagall’s
Midsummer Night’s Dream

Marc Chagall (1887-1985) was a pioneer of modernism. Also he was a vey unusual person. Chagall gave one biographer the impression that he was “always slightly hallucinating.” Chagall himself said he was a dreamer who never woke up.

Марк Шагал (1887-1985) стал пионером модернизма и был очень необычным человеком. У одного биографа осталось впечатление, что Марк Шагал «постоянно находился в лёгкой галлюцинации». Шагал и сам называл себя мечтателем, который никогда не просыпается.

Movcha (Moses) Chagall was, as he put it, “born dead” on July 7, 1887, in the Belorussian town of Vitebsk, near the Polish border. His distraught family pricked the limp body of their firstborn with needles to try to stimulate a response. With that rude introduction to life, it’s no wonder that Marc stuttered as a boy and was subject to fainting. “I was scared of growing up. Even in my twenties I preferred dreaming about love and painting it in my pictures,” he said.

Мойша (Моисей) Шагал, как он сам говорил, «родился мёртвым» 7 июля 1887 года в белорусском городе Витебске, недалеко от границы с Польшей. Убитые горем родные кололи его расслабленное тело иголками, ожидая крика. Неудивительно, что встреченный так негостеприимно Марк в детстве заикался и был склонен к обморокам. «Я боялся расти. Даже после двадцати лет о любви я предпочитал мечтать и изображать её на картинах», — говорил он.

In 1906, at age 19, he wangled a small sum of money from his father and left for St. Petersburg, where he enrolled in the drawing school of the Imperial Society for the Protection of Fine Arts. His world broadened in 1909 when he signed up for an art class in taught by Leon Bakst, who, having been to Paris, carried an aura of sophistication. Bakst indulged Chagall’s expressive, unconventional approach to painting and dropped names, exotic to the young man’s ears, such as Manet, Cézanne and Matisse.

В 1906 году, выпросив у отца небольшую сумму денег, он уехал в Петербург, где поступил в школу художеств (рисования) Императорского общества содействия (защиты) изящных искусств. Его взгляд на мир расширился, когда в 1909 году он поступил в класс художника Леона Бакста, который привёз из Парижа ауру «изысканного модернизма». Бакст поощрял выразительную, необычную манеру письма Шагала и сыпал такими именами — экзотическими для ушей молодого Шагала, — как Мане, Сезанн и Матисс.

“Paris!” Chagall wrote in his autobiography. “No word sounded sweeter to me!” By 1911, at age 24, he was there, thanks to a stipend of 40 rubles a month from a supportive member of the Duma who had taken a liking to the young artist. When he arrived, he went directly to the Louvre to look at the famous works of art there. Often he’d cut a herring in half, the head for one day, the tail for the next. Friends who came to his door had to wait while he put on his clothes; he painted in the nude to avoid staining his only outfit. Many consider Chagall’s work during his four-year stay in Paris his most boldly creative.

«Париж!», — написал Шагал в своей биографии, -«Никакое слово не звучало для меня сладостнее!». К 1911 году, в возрасте 24 лет, Шагал был уже в Париже, благодаря стипендии от депутата Думы, которому понравились картины молодого художника. Приехав в Париж, он прямо направился в Лувр, чтобы увидеть знаменитые произведения искусства. Часто он делил одну селёдку на два дня: в первый съедал «головную», а во второй — «хвостовую» часть. Друзьям приходилось ждать, пока он оденется, чтобы открыть им дверь, так как работал он голым, чтобы не запачкать единственный костюм. Многие считают четырёхлетний период жизни Шагала в Париже самым смелым в его творчестве.

Above the Town
Над городом

Returning to Vitebsk in 1914 with the intention of staying only briefly, Chagall was trapped by the outbreak of World War I. At least that meant spending time with his fiancée, Bella Rosenfeld, the beautiful, cultivated daughter of one of the town’s wealthiest families. Despite her family’s worries that she would starve as the wife of an artist, the pair married in 1915; Chagall was 28, Bella, 23. In his Above the Town he and Bella soar blissfully above Vitebsk.

Ненадолго вернувшись в Витебск в 1914 году, Шагал попал под начало Первой мировой войны (и уехать не смог). По крайней мере, он мог проводить больше времени со своей невестой Беллой Розенфельд, красивой и культурной девушкой. Её семья была одной из самых богатых в городе. Несмотря на опасения родственников, что ей придётся голодать, выйдя замуж за художника, они всё же поженились в 1915 году. Шагалу было 28 лет, а Белле 23 года. В картине «Над городом» он изобразил, как они с Беллой, счастливые, пролетают над Витебском.

In 1917 Chagall embraced the Bolshevik Revolution. Giving up his job as commissar in 1920, Chagall moved to Moscow. But ultimately unhappy with Soviet life, he left for Berlin in 1922 and settled in Paris a year and a half later along with Bella and their 6-year-old daughter, Ida.

В 1917 году Шагал принял большевистскую революцию. В 1920 году, оставив пост комиссара, он уехал в Москву. Но недовольный жизнью при Советах, в конце концов в 1922 году уехал в Берлин, а через полтора года поселился в Париже с женой Беллой и 6-летней дочкой Идой.

In June 1941, Chagall and his wife boarded a ship for the United States, settling in New York City. The six years Chagall spent in America were not his happiest. He never got used to the pace of New York life, never learned English. “It took me thirty years to learn bad French,” he said, “why should I try to learn English?” When Bella, his muse, confidante and best critic, died suddenly in 1944 of a viral infection, “everything turned black,” Chagall wrote.

В июне 1941 года Шагал с женой направился на корабле в Соединённые Штаты и поселился в Нью-Йорке. Шесть лет, прожитых в Америке, были для Шагала не самыми счастливыми. Он так и не привык к высокому темпу жизни в Нью-Йорке и так и не выучил английского языка. «Я за тридцать лет научился кое-как (плохо) говорить по-французски», — говорил он, — «зачем мне пытаться учить английский язык?» Когда Белла, его муза, подруга и лучший критик, неожиданно умерла в 1944 году от вирусной инфекции, «всё стало чёрным», — как написал Шагал.

His daughter, Ida, found a French-speaking English woman, Virginia McNeil, to be his housekeeper. A diplomat’s daughter, McNeil had been born in Paris and raised in Bolivia and Cuba, but had recently fallen on hard times. She was 30 and Chagall 57 when they met, and before long the two were talking painting, then dining together. A few months later Virginia left her husband and went with Chagall to live in High Falls, New York. They bought a simple wooden house with an adjoining cottage for him to use as a studio.

Дочь Ида нашла ему экономку, Вирджинию МакНил — англичанку, знающую французский язык. Дочь дипломата, МакНил родилась в Париже, а выросла в Боливии и на Кубе, но теперь переживала не лучшие времена. Ей было 30 лет, а Шагалу 57, и вскоре они начали говорить о живописи, а затем вместе обедать. Через несколько месяцев Вирджиния ушла от мужа и поселилась с Шагалом районе High Falls в Нью-Йорке. Они купили простой деревянный дом с отдельным коттеджем под студию.

“I know I must live in France, but I don’t want to cut myself off from America,” he once said. “France is a picture already painted. America still has to be painted. Maybe that’s why I feel freer there. But when I work in America, it’s like shouting in a forest. There’s no echo.” In 1948 he returned to France with Virginia, their son, David, born in 1946, and Virginia’s daughter. They eventually settled in Provence. But Virginia abruptly left Chagall in 1951, taking the two children with her. Once again the resourceful Ida found her father a housekeeper— this time in the person of Valentina Brodsky, a 40-year-old Russian living in London. Chagall, then 65, and Vava, as she was known, soon married.

«Я знаю, что должен жить во Франции, но не хочу отрываться от Америки», — сказал он однажды, — «Франция — это уже готовое полотно (картина), а Америка — ещё не написанное. Может быть, поэтому там я чувствую себя свободнее. Но работать в Америке для меня всё равно, что кричать в лесу. Нет никакого эха». В 1948 году он с Вирджинией и их сыном Давидом (а также дочерью Вирджинии от первого брака) вернулся во Францию. Но в 1951 году Вирджиния неожиданно бросила Шагала, забрав обоих детей с собой. И вновь предприимчивая Ида нашла отцу экономку — на сей раз в лице Валентины Бродской, 40-летней русской из Лондона. Вскоре 65-летний Шагал женился на «Ваве», как Бродскую звали дома.

The new Mrs. Chagall managed her husband’s affairs with an iron hand. She tended to cut him off from the world. But he didn’t really mind because what he needed most was a manager to give him peace and quiet so he could get on with his work. He never answered a telephone himself. Ida, who died in 1994 at age 78, gradually found herself seeing less of their father. But to all appearances Chagall’s married life was a contented one, and images of Vava appear in many of his paintings.

Новая госпожа Шагал вела дела мужа железной рукой. Она старалась отрезать его от мира. Но он совсем не возражал, так как очень нуждался в ком-то, кто даст ему тишину и покой, чтобы он мог постоянно работать. Он никогда не подходил к телефону. Дочь Ида, умершая в 1994 году в возрасте 78 лет, всё меньше виделась с отцом. Но чисто внешне семейная жизнь Шагала была счастливой, и образ Вавы виден на многих его картинах.

Marc Chagall

When he died in Saint Paul de Vence on March 28, 1985, at 97, Chagall was still working, still the avant-garde artist who refused to be modern. That was the way he said he wanted it: “To stay wild, untamed … to shout, weep, pray.”

Шагал не оставлял работы до самой смерти 28 марта 1985 года во Франции (в Saint Paul de Vence) в возрасте 97 лет.

«When Matisse dies,» Pablo Picasso remarked in the 1950s, «Chagall will be the only painter left who understands what colour really is». During his 75-year career he produced an astounding 10,000 works.

В начале 1950-ых годов Пабло Пикассо заметил: «Когда умрёт Матисс, Шагал останется единственным художником, который по-настоящему понимает цвет». За 75-летнюю карьеру художника Шагал создал неимоверное количество картин — 10 тысяч.

См. также:

• Художник Арчимбольдo: дедушка сюрреализма в XVI веке | Arcimboldo: the grandfather of surrealism in 16th century
• Биография Поля Гогена на английском (статья Энн Моррисон) | Gauguin’s Bid for Glory

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Другие языки

Обновлено: 11.03.2023

Marc Chagall was born on July 7, 1887 in a poor Jewish family in Vitebsk. He was the eldest of ten children. Despite the poverty the boy never went hungry and his childhood was happily filled with rich experiences of the rural countryside, suburban blocks with small wooden houses and backyards filled with children and animals. He learned to play the violin and was given singing lessons and from an early age he drew and wrote poetry. Chagall began to display his talent while studying at school.
In 1907 he began studying art with Leon Bakst. It was at this time that his distinct style began to develop. Life was difficult in the Russia capital during those unsettled times. In 1910 Chagall found a patron, who agreed to pay for his studies in Paris. It was during this four-year period in Paris that he painted some of his most famous paintings of the Jewish village, and developed the special style of his art. He began using strong and bright colours. Fantasy, nostalgia, and religion began to mix together, creating otherworldly images. Robert Delauney’s use of Cubist technique and his lyrical sense of colour had a strong influence on Chagall’s ideas.

Марк Шагал родился 7 июля 1887 года в бедной еврейской семье в Витебске. Он был старшим из десяти детей. Несмотря на бедность мальчик никогда не голодал , и его детство было счастливо наполнен богатым опытом в сельской местности, пригородных блоков с небольшими деревянными домами и во дворах , заполненных детьми и животными. Он научился играть на скрипке и получил уроки пения и с раннего возраста , он рисовал и писал стихи. Шагал начал показывать свой талант во время учебы в школе.
В 1907 году он начал изучать искусство с Бакста. Именно в это время , что его особый стиль начал развиваться. Жизнь была трудной в России капитал в те времена неурегулированных. В 1910 году Шагал нашел покровителя, который согласился заплатить за его обучение в Париже. Именно в течение этого четырехлетнего периода в Париже , что он написал некоторые из его самых известных картин еврейской деревни, и разработал особый стиль его творчества. Он начал использовать сильные и яркие цвета. Фэнтези, ностальгия, и религия начал смешивать вместе, создавая потусторонние образы. Использование Роберта Делоне по технике кубизма и его лирический чувство цвета оказали сильное влияние на идеи Шагала.

марк шагал родился 7 июля 1887 года в бедной еврейской семье в витебске.он был старшим из десяти детей.несмотря на бедность, мальчик никогда не голодают и его детство было счастливо, наполненные богатый опыт в сельской местности, пригородных кварталах с небольших деревянных домов и домов, наполненные детей и животных.он учился играть на скрипке и получила уроки пения и с раннего возраста он рисовал и писал стихи.шагал начали показывать свой талант во время учебы в школе.в 1907 году он начал изучать искусство с леон бакст.в это время, что его исполнительский стиль начал развиваться.жизнь трудно в россии капитал в эти проблемы.в 1910 году шагал нашел патрон, который согласился платить за учебу в париже.именно во время этого четырехлетнего периода в париже, что он написал некоторые из его самых знаменитых картин из еврейское поселение, и разработали особый стиль живописи.он начал использовать сильные и яркие цвета.фантазия, ностальгии и религии начали смешиваться вместе, создавая таинственные изображения.роберт delauney использовать cubist технику и лирических чувство цвета имеют сильное влияние на шагала идей.в 1914 году, перед началом третьей мировой войны, шагал послали несколько картин на авангардной выставки в россии, но он продал очень мало.во время войны он проживал в беларуси и женился на своей невесты, белла.в 1917 году, он был назначен директором свободной художественной академии в витебске.он был самым популярным преподаватель академии.в 1922 году шагал оставил в витебске, поселиться во франции, год спустя.наконец, после периода лишения его работы стали платить и 1930 года его имя было известно во всем мире.шагал картины оказали огромное влияние на развитие искусства, один из этих картин является картина « голубой дом «.

Marc Chagall (1887-1985) was a pioneer of modernism. Also he was a vey unusual person. Chagall gave one biographer the impression that he was “always slightly hallucinating.” Chagall himself said he was a dreamer who never woke up.

Марк Шагал (1887-1985) стал пионером модернизма и был очень необычным человеком. У одного биографа осталось впечатление, что Марк Шагал «постоянно находился в лёгкой галлюцинации». Шагал и сам называл себя мечтателем, который никогда не просыпается.

Movcha (Moses) Chagall was, as he put it, “born dead” on July 7, 1887, in the Belorussian town of Vitebsk, near the Polish border. His distraught family pricked the limp body of their firstborn with needles to try to stimulate a response. With that rude introduction to life, it’s no wonder that Marc stuttered as a boy and was subject to fainting. “I was scared of growing up. Even in my twenties I preferred dreaming about love and painting it in my pictures,” he said.

Мойша (Моисей) Шагал, как он сам говорил, «родился мёртвым» 7 июля 1887 года в белорусском городе Витебске, недалеко от границы с Польшей. Убитые горем родные кололи его расслабленное тело иголками, ожидая крика. Неудивительно, что встреченный так негостеприимно Марк в детстве заикался и был склонен к обморокам. «Я боялся расти. Даже после двадцати лет о любви я предпочитал мечтать и изображать её на картинах», — говорил он.

In 1906, at age 19, he wangled a small sum of money from his father and left for St. Petersburg, where he enrolled in the drawing school of the Imperial Society for the Protection of Fine Arts. His world broadened in 1909 when he signed up for an art class in taught by Leon Bakst, who, having been to Paris, carried an aura of sophistication. Bakst indulged Chagall’s expressive, unconventional approach to painting and dropped names, exotic to the young man’s ears, such as Manet, Cézanne and Matisse.

В 1906 году, выпросив у отца небольшую сумму денег, он уехал в Петербург, где поступил в школу художеств (рисования) Императорского общества содействия (защиты) изящных искусств. Его взгляд на мир расширился, когда в 1909 году он поступил в класс художника Леона Бакста, который привёз из Парижа ауру «изысканного модернизма». Бакст поощрял выразительную, необычную манеру письма Шагала и сыпал такими именами — экзотическими для ушей молодого Шагала, — как Мане, Сезанн и Матисс.

“Paris!” Chagall wrote in his autobiography. “No word sounded sweeter to me!” By 1911, at age 24, he was there, thanks to a stipend of 40 rubles a month from a supportive member of the Duma who had taken a liking to the young artist. When he arrived, he went directly to the Louvre to look at the famous works of art there. Often he’d cut a herring in half, the head for one day, the tail for the next. Friends who came to his door had to wait while he put on his clothes; he painted in the nude to avoid staining his only outfit. Many consider Chagall’s work during his four-year stay in Paris his most boldly creative.

«Париж!», — написал Шагал в своей биографии, -«Никакое слово не звучало для меня сладостнее!». К 1911 году, в возрасте 24 лет, Шагал был уже в Париже, благодаря стипендии от депутата Думы, которому понравились картины молодого художника. Приехав в Париж, он прямо направился в Лувр, чтобы увидеть знаменитые произведения искусства. Часто он делил одну селёдку на два дня: в первый съедал «головную», а во второй — «хвостовую» часть. Друзьям приходилось ждать, пока он оденется, чтобы открыть им дверь, так как работал он голым, чтобы не запачкать единственный костюм. Многие считают четырёхлетний период жизни Шагала в Париже самым смелым в его творчестве.

Above the Town
Над городом

Returning to Vitebsk in 1914 with the intention of staying only briefly, Chagall was trapped by the outbreak of World War I. At least that meant spending time with his fiancée, Bella Rosenfeld, the beautiful, cultivated daughter of one of the town’s wealthiest families. Despite her family’s worries that she would starve as the wife of an artist, the pair married in 1915; Chagall was 28, Bella, 23. In his Above the Town he and Bella soar blissfully above Vitebsk.

Ненадолго вернувшись в Витебск в 1914 году, Шагал попал под начало Первой мировой войны (и уехать не смог). По крайней мере, он мог проводить больше времени со своей невестой Беллой Розенфельд, красивой и культурной девушкой. Её семья была одной из самых богатых в городе. Несмотря на опасения родственников, что ей придётся голодать, выйдя замуж за художника, они всё же поженились в 1915 году. Шагалу было 28 лет, а Белле 23 года. В картине «Над городом» он изобразил, как они с Беллой, счастливые, пролетают над Витебском.

In 1917 Chagall embraced the Bolshevik Revolution. Giving up his job as commissar in 1920, Chagall moved to Moscow. But ultimately unhappy with Soviet life, he left for Berlin in 1922 and settled in Paris a year and a half later along with Bella and their 6-year-old daughter, Ida.

В 1917 году Шагал принял большевистскую революцию. В 1920 году, оставив пост комиссара, он уехал в Москву. Но недовольный жизнью при Советах, в конце концов в 1922 году уехал в Берлин, а через полтора года поселился в Париже с женой Беллой и 6-летней дочкой Идой.

In June 1941, Chagall and his wife boarded a ship for the United States, settling in New York City. The six years Chagall spent in America were not his happiest. He never got used to the pace of New York life, never learned English. “It took me thirty years to learn bad French,” he said, “why should I try to learn English?” When Bella, his muse, confidante and best critic, died suddenly in 1944 of a viral infection, “everything turned black,” Chagall wrote.

В июне 1941 года Шагал с женой направился на корабле в Соединённые Штаты и поселился в Нью-Йорке. Шесть лет, прожитых в Америке, были для Шагала не самыми счастливыми. Он так и не привык к высокому темпу жизни в Нью-Йорке и так и не выучил английского языка. «Я за тридцать лет научился кое-как (плохо) говорить по-французски», — говорил он, — «зачем мне пытаться учить английский язык?» Когда Белла, его муза, подруга и лучший критик, неожиданно умерла в 1944 году от вирусной инфекции, «всё стало чёрным», — как написал Шагал.

His daughter, Ida, found a French-speaking English woman, Virginia McNeil, to be his housekeeper. A diplomat’s daughter, McNeil had been born in Paris and raised in Bolivia and Cuba, but had recently fallen on hard times. She was 30 and Chagall 57 when they met, and before long the two were talking painting, then dining together. A few months later Virginia left her husband and went with Chagall to live in High Falls, New York. They bought a simple wooden house with an adjoining cottage for him to use as a studio.

Дочь Ида нашла ему экономку, Вирджинию МакНил — англичанку, знающую французский язык. Дочь дипломата, МакНил родилась в Париже, а выросла в Боливии и на Кубе, но теперь переживала не лучшие времена. Ей было 30 лет, а Шагалу 57, и вскоре они начали говорить о живописи, а затем вместе обедать. Через несколько месяцев Вирджиния ушла от мужа и поселилась с Шагалом районе High Falls в Нью-Йорке. Они купили простой деревянный дом с отдельным коттеджем под студию.

“I know I must live in France, but I don’t want to cut myself off from America,” he once said. “France is a picture already painted. America still has to be painted. Maybe that’s why I feel freer there. But when I work in America, it’s like shouting in a forest. There’s no echo.” In 1948 he returned to France with Virginia, their son, David, born in 1946, and Virginia’s daughter. They eventually settled in Provence. But Virginia abruptly left Chagall in 1951, taking the two children with her. Once again the resourceful Ida found her father a housekeeper— this time in the person of Valentina Brodsky, a 40-year-old Russian living in London. Chagall, then 65, and Vava, as she was known, soon married.

«Я знаю, что должен жить во Франции, но не хочу отрываться от Америки», — сказал он однажды, — «Франция — это уже готовое полотно (картина), а Америка — ещё не написанное. Может быть, поэтому там я чувствую себя свободнее. Но работать в Америке для меня всё равно, что кричать в лесу. Нет никакого эха». В 1948 году он с Вирджинией и их сыном Давидом (а также дочерью Вирджинии от первого брака) вернулся во Францию. Но в 1951 году Вирджиния неожиданно бросила Шагала, забрав обоих детей с собой. И вновь предприимчивая Ида нашла отцу экономку — на сей раз в лице Валентины Бродской, 40-летней русской из Лондона. Вскоре 65-летний Шагал женился на «Ваве», как Бродскую звали дома.

The new Mrs. Chagall managed her husband’s affairs with an iron hand. She tended to cut him off from the world. But he didn’t really mind because what he needed most was a manager to give him peace and quiet so he could get on with his work. He never answered a telephone himself. Ida, who died in 1994 at age 78, gradually found herself seeing less of their father. But to all appearances Chagall’s married life was a contented one, and images of Vava appear in many of his paintings.

Новая госпожа Шагал вела дела мужа железной рукой. Она старалась отрезать его от мира. Но он совсем не возражал, так как очень нуждался в ком-то, кто даст ему тишину и покой, чтобы он мог постоянно работать. Он никогда не подходил к телефону. Дочь Ида, умершая в 1994 году в возрасте 78 лет, всё меньше виделась с отцом. Но чисто внешне семейная жизнь Шагала была счастливой, и образ Вавы виден на многих его картинах.

Marc Chagall

When he died in Saint Paul de Vence on March 28, 1985, at 97, Chagall was still working, still the avant-garde artist who refused to be modern. That was the way he said he wanted it: “To stay wild, untamed . to shout, weep, pray.”

Шагал не оставлял работы до самой смерти 28 марта 1985 года во Франции (в Saint Paul de Vence) в возрасте 97 лет.

«When Matisse dies,» Pablo Picasso remarked in the 1950s, «Chagall will be the only painter left who understands what colour really is». During his 75-year career he produced an astounding 10,000 works.

В начале 1950-ых годов Пабло Пикассо заметил: «Когда умрёт Матисс, Шагал останется единственным художником, который по-настоящему понимает цвет». За 75-летнюю карьеру художника Шагал создал неимоверное количество картин — 10 тысяч.

“He grabs a church and paints with the church,” wrote a poet of the cubist era, Blaise Cendarrs. “He grabs a cow and paints with the cow… He paints with an oxtail (With all the dirty passion of a little Jewish town).” “Soutine? Stangely enough, no: Marc Shagall.”

Cendrars’ rhapsody reminds one how different the late decades of that hugely productive painter were from his early ones. One does not think of late Chagall in terms of the “dirty passion” and “exacerbated sexuality” that struck his (mostly Gentile) friends in modern painting’s golden age, Paris before 1914.

Instead one thinks of an institutionalized, not to say industrialized, sweetness: the Chagall of the blue, boneless angels, the muralist of Lincoln Center and the fresco painter of the Paris Opera, the stationed-glass artist who flooded interiors from the U. N. headquarters in New York City to Reims Cathedral in France to the Hadassah-Hebrew University Medical Center in Jerusalem with the soothing light of benign sentiment. His quasi-religious imagery, modular and diffuse at the same time, would serve (with adjustments: drop the flying cow, put in a menorah) to commemorate nearly anything, from the Holocaust to the self-celebration of a bank. When he died at the age of 97 at his home near Nice, Chagall’s career had spanned more that three—quarters of a century of unremittingly active artmaking.

He was seen by an immense constituency of collectors and museumgoers as an artist of the 20 th century. He had a lyric, flyaway, enraptured imagination, allied to an enviable fluency of hand; the former could waken into marzipan poignancy, the latter into routine charm. He left behind him an oeuvre of paintings, drawings, prints, book illustrations, private and public art of every kind, rivaling Picasso’s in size, if not always in variety or intensity. The number of novice collectors who cut their milk teeth on a Shagall print (Bella with bouquet, floating over the roofs, edition size 400, later moved to the guest bedroom to make room for a large photorealist painting of motorcycle handlebars) is beyond computation. Chagall may have given more people their soft introduction to art dreams then any of his contemporaries. He was the fiddler on the roof of modernism. If he sometimes paid his spiritual taxes in folkloric sugar, it may not matter in the long run – for at Chagall’s death one consults the paintings of his youth, whose wild eccentric beauty is indelible.

Chagall’s was a textbook case of the way some artists receive their subject matter, their grammar of signs, in childhood. He was a child of the Russian ghetto, born in the town of Vitebsk in 1887; his father was a herring packer, his grandfather a cantorand kosher butcher, his uncle an amateur violinist. The imagery of music and shtetl folklore, mingled with the face of his childhood sweetheart (and further wife), Bella Rosenfeld, furnished the unaltering ground of his work for 80 years, long after the close-knit and weak little societies it represented had been incinerated by Hitler. “All the little fences, the little cows and sheep looked to me as original, as ingenuous and as eternal as the buildings in Giotto’s frescoes,” he reminisced in the ‘20s.

He developed his wry and sweet visions in the two great forcing houses of modernism between 1900 and 1925: Paris and Russia. As a student in St. Petersburg up to 1910, he came under the wing of Diaghilev’s designer Leon Bakst; an enlightened Jewish patron, Max Vinaver, sent him to Paris that year. He took a studio in a rickety building near the slaughteryards and found that his neighbors were Soutine, Legel and Modigliani. Back in Russia by 1914, Chagall waited out World War I (and was plunged into the Revolution) in the company of Tatlin, Malevich and Kandinsky.

“Bliss was it in that dawn to be alive” – especially for a young artist, eager to absorb what this supreme moment of untainted modernism offered. In cubism, he felt, the subject was “killed, cut to pieces and its form and surface disguised.” Chagall did not want to go so far, but the flattening, reflection and rotation of cubist form gave his early paintings their special radiance and precision. In “Paris Through the Window”, 1913, we enter a rainbow world, all prismatic light and jingling crystalline triangles. It is full of emblems of stringent modernity: the Eiffel Tower, a parachutist. a train upside down but still insouciantly chuffing. It owes a lot to his friend Robert Delaunay, who made abstractions of Paris windows. But the picture is plucked back from the analytic by its delicious strain of fantasy: a cat with a man’s head serenading on the sill, a Janus head (Chagall himself, looking forward to modernism and back to the village?) displaying a heart on his hand. He was unquestionably a prince of tropes. “With Chagall alone,” said Andre Breton, leader of the surrealists, “metaphor made its triumphant entry into modern painting.” And though the procession that followed its entry had its tedious stretches, involving some fairly shameless plucking on the heart-strings, the best of Chagall remains indispensable to any nondoctrinaire reading of the art of the 20 th century.

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Описание презентации по отдельным слайдам:

WELCOME TO THE LESSON

“Art is the product of human creativity and a superior skill learned by study, practice and observation.”
(The Webster’s Dictionary)

GUESS THE AUTHOR
Vasiliy Kandinskiy

Working on the text you are to:
read your part of the text in groups;
choose one “expert” from your group;
exchange the information through your “expert”;
fill in the chart.

AGREE OR DISAGREE
Moisey Chagall was born in a rich family in Paris;
He taught Pen at the art school;
M. Chagall went to Petersburg on the invitation of N. Rerikh;
In Paris Chagall was introduced to the best teachers of drawing;
Marc married Bella and went to Petrograd with her;
In 1918 in Vitebsk he worked at the art school;
Chagall died in Vitebsk;

1. Moisey Chagall was born in Vitebsk
and his father was a trader;
and his father was a jeweller;
and spent all his life in this town.

1. Moisey Chagall was born in Vitebsk
and his father was a trader;
and his father was a jeweller;
and spent all his life in this town.

2. When Marc Chagall studied at the art school
he developed his own style of painting;
he exhibited his pictures in Paris;
he got acquainted with S.Esenin.

2. When Marc Chagall studied at the art school
he developed his own style of painting;
he exhibited his pictures in Paris;
he got acquainted with S.Esenin.

3. After finishing the art school Marc Chagall
decided to open his own art school;
went to study to Petersburg;
went to Paris to study painting.

3. After finishing the art school Marc Chagall
decided to open his own art school;
went to study to Petersburg;
went to Paris to study painting.

4. In Paris Marc Chagall
craved for meetings with professors;
married Bella Rosenfeld;
observed the life of city dwellers.

4. In Paris Marc Chagall
craved for meetings with professors;
married Bella Rosenfeld;
observed the life of city dwellers.

5. Marc Chagall’s pictures
were destroyed by a madman;
appealed to experts;
were true to life.

5. Marc Chagall’s pictures
were destroyed by a madman;
appealed to experts;
were true to life.

6. When Chagall lived
in Paris he
frequented exhibitions and museums;
founded the national Art School;
kept away from exhibitions and museums.

6. When Chagall lived
in Paris he
frequented exhibitions and museums;
founded the national Art School;
kept away from exhibitions and museums.

7. Marc Chagall painted his Vitebsk series
on cardboard and paper;
on wrapping paper;
on canvas and paper.

7. Marc Chagall painted his Vitebsk series
on cardboard and paper;
on wrapping paper;
on canvas and paper.

8. Chagall’s in-laws
were proud of their daughter’s husband;
didn’t approve of their daughter’s choice;
were connoisseurs of art.

8. Chagall’s in-laws
were proud of their daughter’s husband;
didn’t approve of their daughter’s choice;
were connoisseurs of art.

9. In 1918 Marc Chagall was appointed
Commissioner on the problems of art in Vitebsk region;
Headmaster of the art school in Vitebsk;
Chief painter of Vitebsk region.

9. In 1918 Marc Chagall was appointed
Commissioner on the problems of art in Vitebsk region;
Headmaster of the art school in Vitebsk;
Chief painter of Vitebsk region.

10. In 1920 Chagall left Vitebsk for
Paris;
Moscow;
Petersburg.

10. In 1920 Chagall left Vitebsk for
Paris;
Moscow;
Petersburg.

PROVE THAT …
Marc Chagall loved Motherland very much;
Marc Chagall loved children;
Belarusian people respect
Marc Chagall greatly.

Chagall’s Museum in Vitebsk

“INTERIOR WITH FLOWERS”
“THE WINDOW AT THE COUNTRYHOUSE”
“LILIES-OF-THE-VALLEY”
“THE BURNING HOUSE”

HOMEWORK:
make a full description of one of Chagall’s paintings you liked most. Use drawings from the lesson or ones you have at home;
write a letter to your friend sharing your impressions after visiting Marc Chagall’s exhibition;
explain in a few sentences the different kinds of pleasure you get while looking through the masterpieces of Marc Chagall.

MY FEELINGS IN COLOURS
didn’t fulfill the task;
didn’t received a good mark;
…
worked hard;
answered properly;
was active;
…

LIFE IS SHORT, ART IS LONG

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He died at the age of 97. During his life he painted many pictures, wrote many poems and designed productions in theaters.

F irst love of Mar k Chagall

Bertha Rosenfeld was born in Vitebsk. According to some sources, her first name was not as Bert, but as Basia

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“He grabs a church and paints with the church,” wrote a poet of the cubist era, Blaise Cendarrs. “He grabs a cow and paints with the cow… He paints with an oxtail (With all the dirty passion of a little Jewish town).” “Soutine? Stangely enough, no: Marc Сhagall.”

Cendrars’ rhapsody reminds one how different the late decades of that hugely productive painter were from his early ones. One does not think of late Chagall in terms of the “dirty passion” and “exacerbated sexuality” that struck his (mostly Gentile) friends in modern painting’s golden age, Paris before 1914.

Instead one thinks of an institutionalized, not to say industrialized, sweetness: the Chagall of the blue, boneless angels, the muralist of Lincoln Center and the fresco painter of the Paris Opera, the stationed-glass artist who flooded interiors from the U. N. headquarters in New York City to Reims Cathedral in France to the Hadassah-Hebrew University Medical Center in Jerusalem with the soothing light of benign sentiment. His quasi-religious imagery, modular and diffuse at the same time, would serve (with adjustments: drop the flying cow, put in a menorah) to commemorate nearly anything, from the Holocaust to the self-celebration of a bank. When he died at the age of 97 at his home near Nice, Chagall’s career had spanned more that three—quarters of a century of unremittingly active artmaking.

He was seen by an immense constituency of collectors and museumgoers as an artist of the 20th century. He had a lyric, flyaway, enraptured imagination, allied to an enviable fluency of hand; the former could waken into marzipan poignancy, the latter into routine charm. He left behind him an oeuvre of paintings, drawings, prints, book illustrations, private and public art of every kind, rivaling Picasso’s in size, if not always in variety or intensity. The number of novice collectors who cut their milk teeth on a Shagall print (Bella with bouquet, floating over the roofs, edition size 400, later moved to the guest bedroom to make room for a large photorealist painting of motorcycle handlebars) is beyond computation. Chagall may have given more people their soft introduction to art dreams then any of his contemporaries. He was the fiddler on the roof of modernism. If he sometimes paid his spiritual taxes in folkloric sugar, it may not matter in the long run – for at Chagall’s death one consults the paintings of his youth, whose wild eccentric beauty is indelible.

Chagall’s was a textbook case of the way some artists receive their subject matter, their grammar of signs, in childhood. He was a child of the Russian ghetto, born in the town of Vitebsk in 1887; his father was a herring packer, his grandfather a cantorand kosher butcher, his uncle an amateur violinist. The imagery of music and shtetl folklore, mingled with the face of his childhood sweetheart (and further wife), Bella Rosenfeld, furnished the unaltering ground of his work for 80 years, long after the close-knit and weak little societies it represented had been incinerated by Hitler. “All the little fences, the little cows and sheep looked to me as original, as ingenuous and as eternal as the buildings in Giotto’s frescoes,” he reminisced in the ‘20s.

He developed his wry and sweet visions in the two great forcing houses of modernism between 1900 and 1925: Paris and Russia. As a student in St. Petersburg up to 1910, he came under the wing of Diaghilev’s designer Leon Bakst; an enlightened Jewish patron, Max Vinaver, sent him to Paris that year. He took a studio in a rickety building near the slaughteryards and found that his neighbors were Soutine, Legel and Modigliani. Back in Russia by 1914, Chagall waited out World War I (and was plunged into the Revolution) in the company of Tatlin, Malevich and Kandinsky.

“Bliss was it in that dawn to be alive” – especially for a young artist, eager to absorb what this supreme moment of untainted modernism offered. In cubism, he felt, the subject was “killed, cut to pieces and its form and surface disguised.” Chagall did not want to go so far, but the flattening, reflection and rotation of cubist form gave his early paintings their special radiance and precision. In “Paris Through the Window”, 1913, we enter a rainbow world, all prismatic light and jingling crystalline triangles. It is full of emblems of stringent modernity: the Eiffel Tower, a parachutist. a train upside down but still insouciantly chuffing. It owes a lot to his friend Robert Delaunay, who made abstractions of Paris windows. But the picture is plucked back from the analytic by its delicious strain of fantasy: a cat with a man’s head serenading on the sill, a Janus head (Chagall himself, looking forward to modernism and back to the village?) displaying a heart on his hand. He was unquestionably a prince of tropes. “With Chagall alone,” said Andre Breton, leader of the surrealists, “metaphor made its triumphant entry into modern painting.” And though the procession that followed its entry had its tedious stretches, involving some fairly shameless plucking on the heart-strings, the best of Chagall remains indispensable to any nondoctrinaire reading of the art of the 20th century.

(1887-1985)

Who Was Marc Chagall?

Marc Chagall developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works.

Early Life

Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work.

At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev’s Ballets Russes. This early experience would prove important to Chagall’s later career as well.

Despite this formal instruction and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged.

The Beehive

Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period.

Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come.

War, Peace and Revolution

In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos.

To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia.

In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good.

Flight

After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol’s 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research.

Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural «cleansing» undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion.

With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way.

Haunted Harbors

Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky.

But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion (1943) and The Juggler (1943) indicate. A more personal blow struck Chagall in September 1944, when his beloved Bella died of a viral infection, leaving the artist incapacitated with grief. His sadness at the loss of his wife would haunt Chagall for years to come, as represented most poignantly in his 1945 paintings Around Her and The Wedding Candles.

Working through his pain, in 1945 Chagall began the set design and costumes for a production of Igor Stravinsky’s ballet The Firebird, which premiered in 1949, ran until 1965 and has been staged numerous times since. He also became involved with a young English artist named Virginia McNeil, and in 1946 she gave birth to their son, David. Around this time Chagall was also the subject of retrospective exhibitions at MOMA and the Art Institute of Chicago.

Return

After seven years in exile, in 1948 Chagall returned to France with Virginia and David as well as Virginia’s daughter, Jean, from a previous marriage. Their arrival coincided with the publication of Chagall’s illustrated edition of Dead Souls, which had been interrupted by the onset of the war. The edition of Fables featuring his work was published in 1952, and after Chagall completed the etchings he had begun in 1930, his illustrated bible was published in 1956.

In 1950, Chagall and his family moved south to Saint-Paul-de-Vence, on the French Riviera. Virginia left him the next year, but in 1952 Chagall met Valentina “Vava” Brodsky and married her shortly thereafter. Valentina, who became Chagall’s no-nonsense manager, is featured in several of his later portraits.

Settling into life as an established painter, Chagall began to branch out, working in sculpture and ceramics as well as mastering the art of stained glass windows. Much of his important later work exists in the form of large-scale commissions around the world. Among the highlights from this period are his stained glass windows for the synagogue at the Hadassah Hebrew University Medical Center in Jerusalem (completed 1961), the Saint-Étienne Cathedral in Metz (completed 1968), the U.N. building in New York City (completed 1964) and the All Saint’s Church in Mainz, Germany (completed 1978); the ceiling of the Paris Opéra (completed 1964); and murals for the New York Metropolitan Opera (completed 1964), for whom he also designed the sets and costumes for a 1967 production of Wolfgang Amadeus Mozart’s The Magic Flute.

Death

In 1977 Chagall received the Grand Medal of the Legion of Honor, France’s highest accolade. That same year, he became one of only a handful of artists in history to receive a retrospective exhibition at the Louvre. He died on March 28, 1985, in Saint-Paul-de-Vence at age 97, leaving behind a vast collection of work along with a rich legacy as an iconic Jewish artist and pioneer of modernism.

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QUICK FACTS

• Name: Marc Chagall
• Birth Year: 1887
• Birth date: July 7, 1887
• Birth City: Vitebsk
• Birth Country: Belarus
• Gender: Male
• Best Known For: Marc Chagall was a Belorussian-born French artist whose work generally was based on emotional association rather than traditional pictorial fundamentals.
• Industries
• Art
• Astrological Sign: Cancer
• Schools
• Imperial Society for the Protection of the Arts
• Nacionalities
• French
• Death Year: 1985
• Death date: March 28, 1985
• Death City: Saint-Paul de Vence
• Death Country: France

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CITATION INFORMATION

• Article Title: Marc Chagall Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/artists/marc-chagall
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: May 20, 2021
• Original Published Date: April 2, 2014

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QUOTES

• I know I must live in France, but I don’t want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that’s why I feel freer there. But when I work in America, it’s like shouting in a forest. There’s no echo.