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By Franz Meyer
Marc Chagall is understood mainly as a painter of myth, however the paintings of this septuagenarian defies type. His fantasies of enthusiasts floating on air, of marriage ceremony bouquets towering above the skyline, of scenes recalled from his local Vitebsk in Russia, of opsy-turvy homes and church buildings, of fiddlers and aerial clocks— those are Chagalls pictures which are loved by way of his ever-growing public. yet Chagall, although thoroughly at domestic in Cubism, Surrealism, and Expressionism, hasn't ever belonged to any college until or not it's the college of Paris, within the urban the place he has frequently lived and the place a few of his maximum paintings has been complete.
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The vague contours of arms, legs, dress, and beret predominate and, in comparison, the forms still have but little intrinsic consistency. In the composition one can sense the underlying presence of the curved construction lines on which it is based. For its sake Chagall put up with awkwardnesses of all sorts the uncertain anatomy of the pelvic region, which makes it hard to distinguish left leg from right; the uncertain topography of the sofa coverlet, which seems to rise toward the rear though that is incompatible with the fact that the bowl of flowers rests on it.
Although the blue-green and ocher tints that predominate once again do not result in a clear Catalogue, 6), tackled landscape at that time. His we can see how Chagall experimented with colors. Thus, the bright the Art Nouveau sculpture on the stand in the Goldbergs Parlor produces composition, sea green of a strong, tense contrast with the other tints. the details of the rooms with their mock The two pictures record very exactly all Directoire furniture, their carpets, and their - distance from the bourgeois world of him with awe, as well as from bourgeois painting, especially his host, which pictures by Serov and Levitan, whose example Chagall just then followed while at the pictures.
5 There was only one teacher, the long-legged Bobrovsky, who was not well-disposed toward Chagall. He criticized him on every possible occasion in the most unjust manner. So when, during a session with a live model, he said Chagall was not even capable of drawing a knee, the latter lost his selfassurance and left the school on the spot. That was in July, 1908, and he did not even only a feeling of bitterness. there bother to collect the last month of his scholarship. we do not know anything of what Chagall did during the time he spent on the Moyky Canal.