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By Horst Keller
Marc Chagall: lifestyles and Works
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Additional resources for Marc Chagall: Life and Works
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46 the high point of the The painting is entitled series / and of these the Village and the Village, 1911/12 (Fig. 16). Here we can see the huge face of the painter in profile on the right, in the most accurate visual connection with the eye of a cow — again, words, other in all-nourishing force. as The composition symbol reveals the of the village's utmost boldness. As nowhere else, we find large head shapes chosen here, and, as would be clearly brought out by a color reproduction, this style of painting by characterized is "discoloration": the profile head green and, carried into it, intentionally its on the right antinaturalistic dipped in gentle we have the brightness of white lips and is spherically outlined area between the man dominated by red.
He relies on the infallibility of his inner painting program. Paris does not yet give him any themes. Already, his reluctance to theorize emerges. In Chagall, colors and shapes already are combined to form pictures at a time when his friend Robert Delaunay was still pacing off the circle of color, mentally, in order then to fashion it through painting in crystalline purity, far from any objective references, and "orphically" Russia as a small — — — beautiful. Young Chagall tested himself in a different way; he measured the possibilities of his palette with unrestrained pleasure, as seems, which with others spirits, is is it hardly disturbed by social distraction.
Just as here the soldier's cap "starts floating upward," so the entire head of The Drunkard (Fig. 12) floats away, thus reflecting the drinker who wants to be closer to the bottle than his body's is more which uses attitude permits. Here, the situation of the artist's ecstasy precisely defined through the structure of the painting, nothing but simple, emblematic forms and which an ornamentally highly charming picture plan. bowl, the fish, is The arranged into chicken, the the bottle on the table, the figure of the headless drinker with the knife and the simple fingers, which do nothing and which hold nothing, are relieved of any references to the senses, in contrast to the now famous Self-portrait of that time (not 39 left hand are increased to the up in a grabbing gesture as shown in the painting To Russia, Asses and Others (Col.