contents · the texts in the exhibition catalogue also focus on the periods that chagall spent in...

Marc Chagall, Le Peintre et le coq (‘The painter and the rooster’), 1953

China ink, grey wash on Japan paper

66.2 x 52 cm, private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

CONTENTS

Page 4 PRESS RELEASE

Page 5 PREFACE BY BRUNO MONNIER, THE PRESIDENT OF CULTURESPACES

Page 7THE ARTISTIC PROJECT TEAM

Page 8ITINERARY OF THE EXHIBITION

Page 24MARC CHAGALL, IMPORTANT DATES

Page 26 THE HÔTEL DE CAUMONT, AN ART CENTRE IN AIX-EN-PROVENCE

Page 27 CULTURESPACES, PRODUCER OF THE EXHIBITION

Page 28 SPONSOR OF THE EXHIBITION

Page 29THE FONDATION CULTURESPACES

0 VISUALS AVAILABLE FOR THE PRESS

Page 24

AROUND THE EXHIBITION

Page 27 PRACTICAL INFORMATION

4 I Press Release I Chagall, From Black and White to Colour I Hôtel de Caumont - Centre d’Art, Aix-en-Provence

A RENEWED AND UNIQUE APPROACH TO WORKING WITH COLOURAlthough Marc Chagall was considered a master of colour by the artists and critics of his day, they were less familiar with another approach he adopted—the constant dialogue in his oeuvre between colour and black and white—, which was a decisive phase in the renewal of his art at the turn of the 1950s. This dialogue emerged in the works dating from the 1920s and ‘30s, in which the mastery of colour, which was already present in the young artist’s oeuvre, anticipated and inspired the conception of black and white drawings and engravings. In the post-war period, the colour black—with its impenetrable and overpowering expressiveness—became the catalyst for sombre memories, as well as the aspirations of a Europe that was undergoing reconstruction. Ever in tune with his times, Chagall inverted the creative process and adopted a bold approach, which, from the exploration of the luminous and formal subtleties of black and white, led him to develop even brighter and more intense chromatic tonalities. Furthermore, his experience in creating monumental pictorial spaces, which he had worked on in the United States, thanks to commissions for ballet stage sets and costumes, inspired a renewed interest in colour, which was perceived as an element in constructing volumes and spaces. A RANGE OF TECHNIQUES USED IN HIS WORK This exhibition invites visitors to explore this fascinating process, which manifested itself in the great diversity of techniques used by the artist during this period, upon his return from his exile in America (1941–1947). The techniques ranged from washes to gouaches, engraving to painting, and sculptures made from marble, plaster, and bronze, and ceramic objects.

The exhibition will bring together works loaned exceptionally for the event—The Harlequin from the Taisei Corporation in Tokyo and Lovers on the Stake from the Odermatt Collection—and will present works from private collections that have rarely been exhibited in Europe.

Some of the collages in the exhibition, which were discovered in the artist’s studio after his death—such as Sketch for The Concert, Sketch for Le clown rouge devant St-Paul, and Sketch for Opera Figures—, have never been exhibited. The major works in oils executed in the years 1968–1971 (The Harlequin, Mauve Nude, and The Fantastic Village) will be presented with their preparatory sketches and collages for the first time.

These were the many facets of a complete oeuvre, in which the artist’s comprehension of contrasts, tonalities, chiaroscuro, light, shadows, and halftones produced bold, vivid, and monumental works in colour.

Culturespaces is presenting an exhibition that sheds light on an unexplored dimension of Marc Chagall, who was celebrated as a master of colour by the artists and critics of his day. The exhibition, which is devoted to the last part of the artist’s career, highlights his change of style and reveals each stage in the artist’s creative process, from 1948 until his death in 1985.130 works (paintings, drawings, washes, gouaches, collages, sculptures and ceramics) reflect Chagall’s exploration of black and white and his subsequent mastery of particularly luminous, intense, and profound tints.

Press Release I Chagall, From Black and White to Colour I Hôtel de Caumont - Centre d’Art, Aix-en-Provence I 5

PREFACE BY BRUNO MONNIER, PRESIDENT OF CULTURESPACES

After the Turner and Nicolas de Staël exhibitions, colour will once again be a central theme in Aix-en-Provence, in an exhibition devoted to Marc Chagall’s rich and poetic oeuvre. A unique artist, Chagall created a vocabulary of unique forms, which never fails to enchant visitors at each exhibition devoted to his work—to the point where people might think that they have seen all his work. However, this exhibition in Aix-en-Provence will give visitors an opportunity to discover an entirely novel facet of Chagall’s work, thanks to the two curators’ fresh insight into his ‘late’ works, which have until now rarely been exhibited.

In the second half of his career—when Chagall, like many artists of his generation, settled in the South of France—, he focused on sculpture and ceramics for the first time. Chagall had much to learn from the potters in Provence—as he did from the master glass artisans in Reims—with regard to the various techniques of the fire arts. The stained-glass windows, the ballet and opera stage sets and costumes, and the monumental frescos—such as the famous ceiling in the Opéra Garnier—originated from this large multidisciplinary laboratory, based on a constant improvement and renewal of colour, the primary element in his art. However, the washes, plasters, bronzes, collages, and ceramics exhibited alongside his masterpiece paintings will show visitors the extent to which his interest in colour drew its inspiration from a comprehensive study of the graphic, luminous, and sculptural properties of black and white. This fascinating dialogue—between the materials, the techniques, and, above all, black and white—is a core element of our exhibition.

The texts in the exhibition catalogue also focus on the periods that Chagall spent in Russia and America, showing the diverse cultural sources of this cosmopolitan artist, who was always in step with the art of his time. Hence, visitors will readily recognise elements of icon painting, American abstract expressionism, the works by Rouault, Matisse, and Dubuffet, and, a little later, the acid colours of the pop art years in his brightly coloured mature works.

The benevolence of many private and institutional lenders, in France and abroad, has made it possible to bring together this completely unprecedented collection of works in Aix-en-Provence. We thank them all for their generosity and support. Special thanks also go to Meret Meyer, Ambre Gauthier, and the Comité Marc Chagall, for their continued confidence in Culturespaces, during the projects that we have had the pleasure of collaborating on with them.

Bruno Monnier President of Culturespaces


Marc Chagall, Opera Figures, 1968-1971Oil on canvas, 130 x 96,8 cm Pola Museum of Art, Hakone© ADAGP, Paris, 2019 © Pola Museum of Art, Pola Foundation


THE ARTISTIC PROJECT TEAM

CURATORSHIPAmbre Gauthier was born in 1986. She holds a doctorate in art history and has been responsible for researchat the Comité Marc Chagall in Paris since 2011; she helps compiling the catalogue raisonné and valorisation of the artist’s archives. In 2015, after collaborating on several exhibition projects, she was entrusted with the curatorship of the exhibition ‘Marc Chagall, Le Triomphe de la Musique’ at the Cité de la Musique/ Philharmonie in Paris, and the editorial management of the catalogue at Éditions Gallimard. In the same year, she wrote the monograph Marc Chagall et la musique (the ‘Découvertes’ collection, Gallimard). In 2016 and 2017, she curated the exhibition ‘Chagall et la musique’ at the Montreal Museum of Fine Art and the Los Angeles County Museum of Art. In 2018, she curated the exhibition ‘Marc Chagall, the Third Dimension’ at the Tokyo Station Gallery in Japan, and the exhibition ‘Marc Chagall, Couleur et Lumière dans le Sud de la France’ at the Macau Museum of Modern Art in China.

Meret Meyer was born in 1955 in Boulogne-Billancourt. She holds a Master’s Degree in German Literature and Linguistics, Philosophy, and Theatre Science from the University of Cologne. After working as an editor in publishing houses specialising in art books in France, Germany, and Switzerland, and following the Publishing Course at Harvard University in Boston, she continued working in publishing as a freelance editor for twenty years. She has curated various Marc Chagall exhibitions: she was co-curator of the monographic exhibitions ‘Marc Chagall, un maestro del’900’ at the Galleria d’Arte Moderna (GAM) in Turin in 2004, ‘Chagall delle meraviglie’ at the Complesso del Vittoriano in Rome in 2007, ‘Chagall e il Mediterraneo’ at the Palazzo Blu in Pisa in 2009, and ‘Marc Chagall, una retrospettiva 1908-1985’ at the Palazzo Reale in Milan in 2014 and at the Museum of Fine Arts of Belgium in Brussels in 2015; she was also part of the scientific curatorship of the exhibition ‘Chagall et la Musique’ at the Philharmonie de Paris, at La Piscine in Roubaix, the Montreal Museum of Fine Art, and at the Los Angeles County Museum in Los Angeles.In 2002, she co-curated an exhibition on Joan Miró at the Standard Bank in Johannesburg. Since 1997, she has been Vice-President of the Comité Marc Chagall. Since 2006, she has sat on the Board of Administrators of the ADAGP (Head Office of Artists Right Societies), was a member of the ADAGP’s Cultural Initiatives Committee (2006–2012), and collaborated on the Révélations ADAGP, Artist’s Right Society (the annual ADAGP emerging talent awards for artists) as Vice-President in 2015 and 2016. Over the last twenty-four years, she is Vice-President of the Association des Amis du Musée National Marc Chagall in Nice. Since March 2018, she has been a member of the Acquisition Committee of the Musée d’Art Moderne in the Moderne-Centre Georges Pompidou.

REALISATION AND PRODUCTION Agnès Wolff, Head of cultural programming and exhibitions of Culturespaces, Cecilia Braschi, Exhibition manager at the Hôtel de Caumont, Sophie Blanc, Régisseur at the Hôtel de Caumont and Livia Lérès, Responsible for iconography at Culturespaces.

SCENOGRAPHY Éric Morin is an architect-scenographer. He is a graduate of the École des Beaux-Arts in Nantes. As a plasticianand architect, he has specialised in the field of museography and the scenography of cultural exhibitions for around twenty years. In each project, he creates a link between the museographic content and the architectural characteristics of the exhibition areas. He has focused on various fields during the realisation of his projects: architectural heritage, social and historical subjects, and ancient, modern, and contemporary art.


ITINERARY OF THE EXHIBITION

SECTION 1 - THE POETRY OF BLACK AND WHITE: BOCCACCIO’S TALES In the context of the post-war reconstruction, the colour black provided Chagall with an artistic and symbolic artistic outlet—one that was shared by many artistes, including Jean Dubuffet and Georges Rouault. Indeed, ‘Le noir est une couleur’ (‘Black is a colour’) was the title of an exhibition held in the Galerie Maeght in 1946, which exhibited the works of Bonnard, Matisse, Braque, Rouault, Marchand, Manessier, and Geer van Velde.

In 1949, the publisher Tériade commissioned a series of illustrations from Chagall for the French art review Verve inspired by Boccaccio’s tales of the Decameron. Based on this collection of 100 novellas, written in Florence in the fourteenth century, Chagall decided to illustrate the twenty-six themes exhibited in this room.

This series of washes attest to the new approach Chagall adopted to his art, via the exploration of black and white. The deep blacks and many shades of grey contrast with the paper’s whiteness, with an interplay of transparency and chiaroscuro. The figures and animals with their full and monumental forms, evoking Romanesque art and its bestiaries, also highlight the sculptural potency of black and white.

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1. Marc Chagall, Le philosophe vindicatif, illustration n°20 pour les Contes de Boccace, Verve, (‘The vindictive philosopher’,illustration no. 20 for the tales of the Decameron by Boccaccio), in Verve, a French review of art 1949-1950China ink wash and China ink on paper, 34,1 x 27,8 cmPrivate collection, 1968-1971 © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Le cuisinier illustration n°13 pour les Contes du Décaméron de Boccace, Verve, (‘The cook’, illustration no. 20 for the tales of the Decameron by Boccaccio), in Verve, a French review of art), 1949-1950China ink wash, China ink, and white gouache on paper, 34,1 x 27,8 cmPrivate collection, 1968-1971 © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


Marc Chagall, Two Heads with a Hand or Two Heads One Hand, circa 1964Carrara marble, 40 x 24,5 x 21 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


SECTION 2 - AN EXPLORATION OF VARIOUS TECHNIQUES IN CHAGALL’S STUDIO

Marc Chagall’s post-war creative process involved the simultaneous exploration of a variety of techniques. At the beginning of the 1950s, the combination of black and white was applied to ceramics. Grey monochrome pieces with bold contours evoke the washes created at that time. The transparency and vividness of the slips echo the velvety textures and monochromes perceptible in the calfskin and Japanese papers.

Exploring different techniques (such as carving and casting) and materials (marble, limestone, and Rogne stone), Chagall’s sculptural works, which he also commenced in the 1950s, attest to his exploration of volume and spatial construction. The artist carved stone in his studio in Vence, and subsequently at Saint-Paul, with the assistance of the marble craftsman Lizzarelli; the bronzes were cast in the Susse Fondeur foundry at Malakoff. While the treatment of the materials and patinas highlights different surfaces—matt, glossy, granular, and translucent—, the transposition from plaster to bronze echoes the transition from negative to positive, and from white to black, at the heart of the creative process. Via these techniques, the dialogue between the works generated a constant permeability between the iconography and the plastic effects, the multidisciplinary experimentation fundamentally nourishing the future pictorial works.

1. Marc Chagall, Two Nudes or Adam and Eve or Sculpture-Column, 1953Sculpture, coarse-grained, white-veined Carrara marble, 53,5 x 23 x 24 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Couple with Bouquet of Flowers, 1964China ink, grey wash, and watercolour on Japan paper, 95,5 x 61,5 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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THE FANTASTIC BEAST (plaster/bronze)

Providing a haven for the intertwined couple lying along the animal’s body, during its peregrinations, this fantastic beast with its alert expression evokes both a mythical animal and embodies the incessant meanderings of a migrant. The animal’s body is deeply engraved and carved in the artist’s two favourite materials, highlighting its plasticity. It was initially made from plaster, mixed with ochre-coloured clay, and finally cast in black bronze: an elaborate play of light and reflections glow on the soft patina.

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1. Marc Chagall, The Fantastic Beast or The Donkey or The Fantastic Horse, 1952Sculpture, plaster on metal armature, 53 x 80 x 29 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, The Fantastic Beast or The Donkey or The Fantastic Horse, 1959-1960Sculpture, bronze, bronze proof, 52 x 80 x 20 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


SECTION 3 - THE CONSTRUCTION OF FORMS AND VOLUME IN CHIAROSCURO

Following the multidisciplinary experimentation with black and white, colour re-emerged in Chagall’s work at the beginning of the 1950s; this was closely linked to the artist’s exploration of volume and form. Chagall’s period of training in Jehuda Pen’s studio in Vitebsk and the Zvantseva School of Art in St Petersburg enabled him to master all the traditional techniques for creating a sense of volume in painting: chiaroscuro, bold black contours, and the interplay of light and shade.

In the 1950s, he also used them in sculpture and ceramics: the light and shade produced by the modulated mass and the engraved lines reflect the many experiments that led the artist to adopt a different approach to creating a sense of volume, as the traditional roles of black and white were sometimes reversed. Hence, white—sometimes applied in thick or translucent layers, and sometimes applied in unworked areas, giving the background space and its roughness plenty of space to breathe—was often used to create the volume of interior forms, instead of black. He gradually developed his use of colour in the new forms that emanated from his experiments in black and white, adding dynamism to the compositions and infusing them with a new vitality.

Marc Chagall, Green Night, 1952Oil on canvas, 72 x 60 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


1. Marc Chagall, Vase noir (‘Black vase’), 1955Vase, turned piece, decoration with oxides on black engobes, under covered, 38 x 29 x 21 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Couple With Bird or The Lovers on the Rooster or The Lovers and the Rooster, 1952 Bas-relief in crystalline Carrara marble, 33 x 32 x 8 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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LOVERS ON THE STAKE, 1951 This work attests to the artist’s quest for sculpture and monumentality in his works executed in the 1950s. On a dark ground, evoking memories of the war, a couple of lovers bound to a stake are represented in a composition whose curves suggest the outline of a large white rooster. Vitebsk, the artist’s native village, is inverted. Like a sacrificial image, the couple echoes the recurrent representations of crucifixion in the artist’s oeuvre, while the rooster, a well-intentioned figure, protects the lovers and reminds them of their native town. This place of refuge is both a vivid memory of the past and an image of renewal. The monumental figures of the couple and the rooster, as well as the graphic interplay of the curves and arabesques, echo the sculptural carvings and bas-reliefs that Chagall was working on at the time.

Marc Chagall, Lovers on the Stake, 1951Oil on canvas, 96 x 128 cmCollection Cathy Odermatt-Védovi et François Odermatt© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


SECTION 4 - THE BIBLE, AN ENDLESS SOURCE OF ARTISTIC INSPIRATION An original source of inspiration, reviving his Jewish roots, the Bible played a central role in Chagall’s oeuvre, as the painter considered the it to be ‘the greatest source of poetry of all time’. Depicting man’s thousand-year-old history, Marc Chagall’s Bible is multicultural, based on both Orthodox tradition and Greek art and blurring the boundaries between the Jews and Christians of Palestine. In the context of the post-war reconstruction, the biblical episodes take on a new significance. Symbolically linked to the end of the Second World War and the creation of the State of Israel (1948), they reflect the hope for reconciliation and universal peace. The theme of the Crucifixion, which is present in many of his compositions, symbolises the martyrdom of the Jewish people. Chagall, a connoisseur of Rembrandt’s engravings, interpreted in his own way the dramatic intensity of the biblical episodes, plunging into the intricacies of black and white in order to reveal the ‘light’ of the prophecies. Hence, in the sketches for the large stained-glass windows in Jerusalem, the black and white is gradually suffused with colour in an ode to the Promised Land.

1. Marc Chagall, The Tribe of Naphtali, sketch for the stained-glass windows in the synagogue in Hadassah-Hebrew Medical Centre,Jerusalem, 1961–1962China ink wash, China ink, gouache, black pencil, and pastel on Japan paper© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Christ, 1921-1952Stele made from Rognes stone or Gard stone, 52 x 23 x 14,5 cmPrivate collection© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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THE EXODUS, 1952-1956 Representing an eponymous episode from the Old Testament, The Exodus is symbolically associated by Chagall with the destiny of the Jewish people during the war, protected by the Christ on the cross, the central figure in the composition, with his outstretched arms. Here and there in the composition, several elements refer to the artist’s world (Vitebsk, lower left, the rooster, and the clock, upper right), or the history of the Jewish people (Moses with the Tablets of the Law and the wandering Jew, lower left and right; the fire, symbolising the pogroms, and the escape to Palestine via the sea, upper right). This synthesis of times and places, of microcosm and macrocosm, and of the particular and the universal was characteristic of Chagall’s art after the Second World War. The black and white highlight the humanistic message of this painting, an affirmation of the artist’s connection with the Jewish people and the universal history of mankind.

Marc Chagall, The Exodus, 1952-1966 Oil on linen canvas, 130 x 162,3 cmDonation in 1988, on permanent loan to the Musée National Marc Chagall, NiceCentre Pompidou, Musée national d’art moderne – Centre de création industrielle © ADAGP, Paris, 2019 Photo © RMN-Grand Palais (musée Marc Chagall) / Gérard Blot


IN FRONT OF THE PICTURE, 1971 A major work from Chagall’s ‘late’ period, the composition of this canvas is surprisingly modern, as is his use of black. An artist with a goat’s head, on the left, is painting a picture representing a crucified figure, which is no other than himself. A double self-portrait, In Front of the Picture plays on the iconographic codes of the self-portrait and the image of the painter at work. The frontal composition places the spectator in front of the picture, a black screen standing out against a grisaille ground, where the silhouettes of the isbas at Vitebsk are represented in monochrome. The black rectangle, accentuating the dramatic intensity of the crucifixion, helps to create a timeless space, an approach reminiscent of works by American artists such as Barnett Newman, which Chagall discovered in New York in the 1940s.

Marc Chagall, In Front of the Picture, 1968-1971 Oil on linen canvas, 116 x 89 cmFondation Marguerite et Aimé Maeght, Saint-Paul-de-Vence © ADAGP, Paris, 2019 Photo Claude Germain – Archives Fondation Maeght


SECTION 5 - SCULPTING AND DRAWING THE COLOUR Between 1960 and 1980, colour becomes element and subject of compositions. Sometimes applied pure to the canvas, in flat areas, or with rapid strokes, colour rhythms the pictorial space with renewed intensity. Its tonalities reflected the luminosity of the south of France, where Chagall settled in October 1949.

Continually renewed and incorporating other techniques, Chagall’s painting was particularly enriched in the 1950s by his exploration of the ancestral practices of ceramics and stained glass. From his exploration of the techniques of enamelling, couverte, and glazes emerged his quest for transparency and unprecedented lightness in his canvases, while the pictorial layer appeared to have an engraved, modelled, and chiselled quality, resembling his vases and sculpted forms. Chagall also applied his pictorial techniques to ceramics. After applying his colours to the clay, he redrew, engraved, and chiselled the fired forms in pastels and pencil.

Like his work with large ceramic wall panels, his work with glass (as of 1958) considerably enriched the monumental vision and the treatment of the transparency of the artist. Chagall stated that ‘Stained glass looks quite simple, the material is light itself’. Inspired by this technique, the canvasses were covered with translucent ranges of colours and ethereal monotones, creating the effect of multiple transparencies. An enveloping and diffuse light seems to radiate from within the compositions.

Marc Chagall, The Lovers and the Beast, 1957Vase, cast piece, white clay, decorations with slips and oxides, etched with dry point, 33 x 24 x 17 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


OPERA FIGURES, 1968-1971 This painting is a variation on the work for the ceiling of the Opéra de Paris, inaugurated in 1964. The main figures, in the centre of the work, feature in Berlioz’s opera, Romeo and Juliet, while the outline of the Palais Garnier can be seen in the background. Based on a preparatory collage and comprising marked coloured areas and light transparencies on the surface of the painting, this work provides an insight into the artist’s technical experiments at the end of the 1960s. The power of the composition, the monumentality of the figures, and treatment of the ground, using close-knit light strokes, also reflect the influence of Chagall’s contemporary work on sculpture and ceramics.

Marc Chagall, Opera Figures,1968-1971Oil on canvas, 130 x 96,8 cm Pola Museum of Art, Hakone© ADAGP, Paris, 2019 © Pola Museum of Art, Pola Foundation


SECTION 6 - COLOUR AS A COMPOSITIONAL ELEMENT In resonance with the vitality of the artist and his open-mindedness, the colour, a veritable life force, conveyed to the viewer the energy of the artist who applied it to the canvas: ‘It is neither the so-called real colour, nor the conventional colour that truly colours the object. (…) Life itself creates contrasts, without which art is unimaginable and incomplete’.

In the last monumental compositions of the artist, in which the search for luminosity reflects the vegetation of the South of France and its personal serenity, the colour acquired a new autonomy, and eventually became the substance and subject of the compositions. On large-format canvases, extremely modern monochrome grounds contained all the richness of the tones and materials explored by the artist—the ultimate result of his multidisciplinary work and the ‘interplay of colour’ (André Malraux), which was a central feature in his work for several decades.

Marc Chagall, Couple Above Saint-Paul, 1970-1971Oil, tempera, and sawdust on canvas, 145 x 130 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


Marc Chagall, Le songe (‘The Dream’), 1952Vase, moulded piece, white clay, decorations with slips and oxides, etched with a knife and dry point, partial enamel applied with paintbrush, interior lined with couverte, 33,7 x 23,3 x 23,3 cm Private collection© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

Ceramic works : Chagall produced his first ceramic works in 1949, in the ‘Poterie des Remparts’ in Antibes; he subsequently worked in the Madoura workshop at Vallauris, in 1952. Near the villages of Biot, Antibes, and Vallauris, centres of the antique tradition of pottery, Marc Chagall joined this blossoming craft movement as an independent artist; at the time it attracted painters such as Matisse, Braque, and Picasso. Working with the fire arts to illuminate the clay and give it its plastic forms, Chagall created (between 1949 and 1962) around 200 unique pieces, including sixty-two dishes and plates decorated in the traditional Provencal manner, ten plaques in chamotte clay, sixteen mural ceramics (one with ninety tiles), and fifty-one sculpted pieces.

The grisaille technique : Working in the Simon-Marq studio in Reims (between 1958 and 1982) Chagall designed eighty-six stained-glass windows in many churches, cathedrals, synagogues, museums, and at the United Nations headquarters. This collaboration enabled the artist to convey his monumental vision, while transforming the treatment of light in his work. Assisted by master glass artisans, Chagall resumed the tradition of grisaille. This technique, which was employed in the art of stained-glass windows in the thirteenth and fourteenth centuries, consisted of mixing metallic oxides in glass paste before firing, in order to obtain nuances and chiaroscuro effects in a monochrome composition. Chagall stated that ‘Stained glass looks quite simple, the material is light itself’. Inspired by this technique, he created translucent ranges of colours, ethereal monochrome greys, and rhythmically compartmentalised painted surfaces.


SECTION 7 - MONUMENTAL COLOUR WORKS Marc Chagall’s ‘late’ works, with their exploration of colour and materials, reflect the artist’s boundless freedom of expression and independence. The small-format fabric and paper collages were used by the artist as preparatory sketches for large compositions comprising geometric forms and bright colours, which were sometimes almost garish due to the high density of the pigments used. Sun and lemon yellow were applied with indigo blue, magenta pink, violet (mica), and absinth green. Through Chagall’s playful and sensorial approach, inherited from sculpture and ceramics, the painter’s medium was enriched with sand, sawdust, and plants, creating a vibrant and organic plastic material, connected with the elements. Applied in layers of flat colour, in relief, or superposed layers, the colour created vibrant and free forms in the material that extended the spatial boundaries imposed by the canvas. The colour now blended interiors with exteriors, the past with the present, and the microcosm with the macrocosm, in a monumental kaleidoscope of bright flashes of colour inhabited by Circassian giants.

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1. Marc Chagall, Sketch for Mauve Nude, Circa 1967Gouache, China ink, pastel, coloured paper, painted paper, and fabrics glued onto paper, 24,3 x 20,6 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Esquisse pour Le Rappel, 1968-1971Gouache, China ink, pastel, pencil, printed fabrics, painted collages on paper, 16 x 16,2 cmCollection particulière © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

3. Marc Chagall, L’Arlequin (‘The Harlequin’), 1968-1971Oil on canvas, 136 x 98 cmTaisei Corporation, Tokyo © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 4. Marc Chagall, The fantastic village, 1968-1971Oil, tempera and colored inks on canvas, 92 x 64,7 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris


THE HARLEQUIN, 1968-1971 A work of monumental power, The Harlequin established the plastic and formal nature of Marc Chagall’s work in the 1970s. The harlequin—with its arms outstretched, embracing and consolidating the composition—stands out against a blue ground that underlines the power and modernity of the monochrome. The marked contrast between the ground and the subject accentuates the colourful impact of the figure—a sculptural figure composed of interlocking geometric forms. This nocturnal circus scene is reminiscent of the recurrent representations of similar scenes in the artist’s work, which are intimately linked to the world and its metaphysical questioning. The harlequin is also symbolically associated with a prophetic figure, represented by the procession of angels and musicians in the upper left-hand side of the painting.

THE FANTASTIC VILLAGE, 1968-1971 The outlines of a woman with the head of a cockerel and a figure on a multicoloured bird stand out against a bright pink ground. In the background are reminiscences of the isbas at Vitebsk and the lush vegetation of the South of France, where the artist set up his studio. This daring ground, in which the colour pink invades the space, consists of a multitude of juxtaposed strokes, a ‘divisionist’ approach that evokes both the tempera works and the monotypes on which Marc Chagall worked simultaneously. Exhibited alongside the preparatory sketch, this work illustrates the creative process of the artist, who created his large-format works from small collages. The glued and cut paper, as well as sections of cloth, positioned the forms and motifs in space, before proceeding with the painting on a larger scale.

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MARC CHAGALL, IMPORTANT DATES

1887 : Marc Chagall is born on 7 July in Vitebsk into a family of Hasidic Jewish merchants and displays talent for drawing at an early age.

1906-1910 : He enters Jehuda Pen’s studio in Vitebsk and begins his academic training; he subsequently goesto St Petersburg, where he studies painting in the studio of Léon Bakst at the Zvantseva School of Art.

1911-1914 : He arrives in Paris and moves into La Ruche (‘the Beehive’), where his neighbours include FernandLéger, Henri Laurens, Alexandre Archipenko, Amedeo Modigliani, and Chaim Soutine, and the poets Blaise Cendrars, Max Jacob, André Salmon, and Guillaume Apollinaire. In 1912, he exhibits in the Paris Salon des Indépendants, and the group exhibition ‘The Donkey’s Tail’ in Moscow. In 1914, his first solo exhibition is held in Berlin in the gallery of the Modernist publication Der Sturm. He returns to White Russia for a short stay, but is stranded by the outbreak of World War I.

1915-1917 : He marries Bella Rosenfeld, whom he represents in many paintings. The couple settles in Petrograd where he befriends artists, literary critics, and poets, including Aleksandr Blok, Sergey Yesenin, and Vladimir Mayakovsky. Their daughter Ida is born in May 1916. In 1917, he participates in several projects launched by the Jewish Society for the Promotion of the Arts at the Lemercier Gallery in Moscow and by two Jewish societies in Petrograd.

1918-1921 : Appointed commissar for art in the Vitebsk region, he sets up an artistic committee to decorate the city on the occasion of the first anniversary of the October 1917 Revolution and establishes a professional art school. He hires Aleksandr Romm, Vera Ermolayeva, El Lissitzky, Yehuda Pen, and Kazimir Malevich to teach at the school. In 1920, he is invited by the Jewish Kamerny Theatre in Moscow to produce the sets and costumes for plays by the Jewish writer Sholem Aleichem. In 1921, he teaches drawing and painting to child survivors of pogroms at a Jewish orphanage in Malakhovka near Moscow.

1922-1923 : Chagall leaves Russia definitively, with all his works, and moves to Berlin. He learns the techniquesof engraving.

1923-1927 : Chagall arrives in Paris after receiving a letter from Blaise Cendrars, in which Ambroise Vollard invites him to illustrate various books: Gogol’s Dead Souls (1924–25), La Fontaine’s Fables (1926–28), and the Bible (1930–39). He signs a contract with the art dealer Bernheim-Jeune. 1931 : He publishes his autobiography Ma Vie, which is translated into French by André Salmon and Bella Chagall. André Breton attempts to encourage him to join the Surrealist movement, but Chagall prefers to remain independent. 1933 : The Nazi leadership orders some of Chagall’s works to be burned, during the exhibition ‘Cultural Bolshevism’ in the Kunsthalle in Mannheim. His French citizenship application is refused. His works are heavily influenced by the political events and rise of Nazism. 1934-1938 : Chagall travels to Spain and is deeply struck by El Greco’s oeuvre. In 1937, revolutionary themesand portraits of Jews with a Torah become recurrent themes in his work. Thanks to Jean Paulhan’s help, he obtains French nationality. Three works, held in German museums, are classed as ‘degenerate art’.

1941 : Thanks to an invitation from the Museum of Modern Art in New York and the help of Varian Fry, at the lastmoment, he manages to leave France for the United States, taking with him all his works in crates. Pierre Matisse becomes his art dealer.


1942-1944 : He travels to Mexico to produce the sets and costumes for the ballet Aleko, based on Pushkin’s The Gypsies and set to music by Tchaikovsky. War is a recurrent theme in his works. Bella Chagall dies of a streptococcus infection.

1945-1946 : Chagall designs the costumes and backdrops for Stravinsky’s The Firebird. He produces the firstcolour lithographs for The Arabian Nights. He meets Virginia McNeil, who gives birth to his son David in 1946.A major retrospective of his work is held at the Museum of Modern Art in New York, and at the Art Institute in Chicago.

1947 : Several monographic exhibitions are held in Paris, Amsterdam, London, Zurich, and Berne.

1948 : Chagall settles again in France and Aimé Maeght becomes his art dealer. The publisher Tériade acquiresall the engravings from the Vollard collection recovered after the war. He creates etchings for the book Dead Souls.

1949-1952 : He learns the art of ceramics and goes on to produce marble and terracotta sculptures; his first pieces are produced in 1952. He marries Valentina Brodsky.

1953-1960 : Many exhibitions are held in Turin, Basel, Berne, and Brussels. He returns to Greece to work on the preparatory gouaches for the lithographs for Daphnis and Chloe. In 1955, he begins the series of ‘Biblical Message’ paintings, which he will finish in 1966. In 1959, he designs stained-glass windows for the Cathedral of Metz. A major retrospective is held by the Kunsthalle in Hamburg, the Haus der Kunst in Munich, and the Musée des Arts Décoratifs in Paris.

1962 : The twelve stained-glass windows for the synagogue of the Hadassah-Hebrew University Medical Centre are inaugurated in Jerusalem.

1963-1966 : At the request of André Malraux, he starts work on the model of the new ceiling for the Paris Opéra, which is inaugurated in 1964. He responds to a commission from the New York Metropolitan Opera to conceive two monumental panels for the lobby of the Lincoln Center.

1967-1970 : For the NY Metropolitan Opera, he realizes sets and costumes for the ballet The Magic Flute. Thework The Circus is published by Éditions Tériade. A major retrospective is held at the Grand Palais in Paris.

1973 : The Musée National Message Biblique Marc Chagall (the Marc Chagall National Museum of the Bible Message, which is now called the Musée National Marc Chagall, or the Marc Chagall National Museum) in Nice is inaugurated in the presence of André Malraux with a monumental mosaic and an auditorium decorated by three large stained glass windows.

1974-1977 : The stained-glass windows for the Reims Cathedral are completed.

1984 : On his 97th birthday, tribute exhibitions are held in Paris, Saint Paul and Nice.

1985 : After producing his last series of lithographs with his friend the lithographer Charles Sorlier, MarcChagall passes away in his house in Saint-Paul-de-Vence, on 28 March 1985.


THE HÔTEL DE CAUMONT-CENTRE D’ART, AIX-EN-PROVENCE

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A CULTURAL INSTITUTION, A MISSION OF PUBLIC INTEREST

Classed as a historical monument, the Hôtel de Caumont is one of the most beautiful private mansions dating from the 18th century in Aix-en-Provence. Situated close to the Cours Mirabeau, in the Mazarin district, the mansion was recently fully restored, and has been home to an art centre since May 2015.

Its aim is to present two temporary art exhibitions per year, devoted to the great names in the history of art, ranging from classical to contemporary art. Reproducing the atmosphere and aesthetic features of an 18th century private mansion, the Caumont Centre d’Art plays a key role in the cultural life of Aix: it is a place where visitors can discover and enjoy a passion for art.

CÉZANNE IN THE REGION OF AIX

This twenty-minute film is broadcast every day in the auditorium and presents the life and career of this illustrious Impressionist painter, a precursor to Cubism, as well as his passion for Aix-en-Provence and its surrounding region, through the key events that shaped his life and his artistic creation.

CONFERENCES, CONCERTS AND PERFORMANCES

The Hôtel de Caumont - Centre d’Art is a space of exchange and dialogue between the different types of artistic expression. In this capacity, it welcomes exhibitions and artists, dance performances and concerts, as well as readings and conferences in an attempt to broaden artistic horizons.

THE CAFÉ CAUMONT

Located in the historic drawing rooms of the ground floor, with their beautiful terrace overlooking the gardens, the Café Caumont is the ideal setting for a quiet lunch, brunch or afternoon tea. The café is an elegant venue at the heart of the Mazarin district. Lounge evenings are proposed.


CULTURESPACES, PRODUCER OF THE EXHIBITION

With 25 years of experience and 3 millions visitors every year, Culturespaces is the leading private organisation managing French monuments and museums, and one of the leading European players in cultural tourism. Culturespaces produces and manages, with an ethical and professional approach, monuments, museums and prestigious historic sites entrusted to it by public bodies and local authorities.

Are managed by Culturespaces :- Atelier des Lumières, Paris (since 2018)- Musée Jacquemart-André, Paris (since 1996)- Musée Maillol, Paris (since 2016)- Villa Ephrussi de Rothschild, Saint-Jean-Cap-Ferrat (since 1992)- Hôtel de Caumont - Centre d’Art, Aix-en-Provence (since 2015)- Carrières de Lumières, Baux-de-Provence (since 2012)- Château des Baux-de-Provence (since 1993)- Roman Theatre and Art and History Museum of Orange (since 2002)- Nîmes Amphitheatre, the Square House, the Magne Tower (since 2006)- Cité de l’Automobile, Mulhouse (since 1999)

Culturespaces is responsible for upgrading spaces and collections, welcoming the general public, managing staff and all services, organising cultural activities and temporary exhibitions and promoting sites at national and international levels, with efficient and responsible management methods certified ISO 9001.

CULTURESPACES, THE LEADING CULTURAL ACTOR IN THE SOUTH OF FRANCE

For over 20 years, Culturespaces has forged ties with important cultural institutions and tourist bodies in the regions of Provence-Alpes-Côte d’Azur and Occitanie. Making use of its local insight and knowledge, Culturespaces has organized many large-scale cultural projects that have had an impact both in terms of local employment and the renown of certain sites.

More information on www.culturespaces.com

« Our aim is to help public institutions present their heritage and develop their reputation incultural circles and among tourists. We also aim to make access to culture more democratic and

help our children discover our history and our civilisation in remarkable cultural sites.»

Bruno Monnier, President of Culturespaces

https://www.culturespaces.com


SPONSOR OF THE EXHIBITION

In just a few years, the Fondation Crédit Agricole Alpes Provence has become a major sponsor of art and culture in Provence, by funding major exhibitions in the Région Sud.

After supporting the exhibitions Turner and Colour, Sisley the Impressionist, and Nicolas de Staël in Provence, which attracted more than a million visitors, the foundation is continuing its policy of sponsorship to promote ‘knowledge sharing’ via its support of the exhibition Chagall: From Black and White to Colour.

The exhibition will provide visitors with an opportunity to rediscover the world of the artist—Chagall the painter, draughtsman, sculptor, ceramist, and engraver—through his exploration of colour, in the heart of one of the finest private mansions in Aix-en-Provence.

The Crédit Agricole Alpes Provence is proud to support this major cultural event through its foundation, and would like to encourage as many people as possible to visit and admire this exhibition, which retraces the second half of the artist’s career, and highlights his abundant creativity, from 1948 to 1985.

HÔTEL DE CAUMONT - DU 1ER NOVEMBRE 2018 AU 24 MARS 2019

La Fondation Crédit Agricole Alpes Provence mécène de l’exposition Chagall, du noir et blanc à la couleur

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En quelques années, la Fondation Crédit Agricole Alpes Provence s’est imposée comme le grand mécène de l’art et de la culture en Provence, en contribuant à des expositions majeures dans la Région Sud.

Après le soutien apporté aux expositions « Turner et la couleur », « Sisley l’impressionniste » et « Nicolas de Staël en Provence », qui ont attiré plus d’un million de visiteurs, la Fondation poursuit son accompagnement en faveur du « Partage du savoir » en soutenant l’exposition « Chagall, du noir et blanc à la couleur ».

L’occasion de redécouvrir, au cœur de l’un des plus beaux hôtels particuliers d’Aix-en-Provence, l’univers du peintre, dessinateur, sculpteur, céramiste et graveur qu’était Chagall, à travers son exploration de la couleur.

Le Crédit Agricole Alpes Provence est fier de soutenir, grâce à sa Fondation, cet évènement culturel de premier plan, et formule le souhait que le plus grand nombre puisse venir admirer cette exposition qui retrace la deuxième partie de carrière de l’artiste, et met en lumière son foisonnement créatif, de 1948 à 1985.

LA FONDATION CRÉDIT AGRICOLE ALPES PROVENCE

Créée en 2006 pour porter les valeurs de la banque coopérative, la Fondation Crédit Agricole Alpes Provence intervient dans les domaines du « Sport pour Valeur », de « La Solidarité en Action », du « Terroir Passionnément », du « Partage du Savoir » et du « Patrimoine pour Futur ». Depuis plus de 10 ans, près de 400 projets ont ainsi été soutenus par plus de 9 millions d’euros de dons, contribuant ainsi à la richesse économique, patrimoniale et culturelle de son territoire (05, 13 et 84).

CAISSE RÉGIONALE DE CRÉDIT AGRICOLE MUTUEL ALPES PROVENCE - Siège social situé 25 chemin des Trois Cyprès - CS70392 - 13097 Aix-en-Provence Cedex 2 - 381 976 448 RCS Aix-en-Provence. 09/2018. Création : cammara design - Crédit photo : Marc Chagall, Le cirque - 1961 - Gouache et pastel sur papier 57,5 x 51 cm - Pola Museum of Art, Hakone, inv. 006-0102

THE FONDATION CRÉDIT AGRICOLE ALPES PROVENCEEstablished in 2006 to promote the cooperative bank’s values, the Fondation Crédit Agricole Alpes Provence is active in the fields of ‘Sport pour Valeur’ (‘Sporting values’), ‘La Solidarité en Action’ (‘Solidarity in action’), ‘Terroir Passionnément’ (‘Regional passion’), ‘Partage du Savoir’ (‘Knowledge sharing’), and ‘Patrimoine pour Futur’ (‘Heritage for the future’). Over the last ten years, around 400 projects have received funding through more than nine million euros in donations, thus enriching the region’s economy, heritage, and culture.


« DISCOVERING THE HOTEL DE CAUMONT »

AN EDUCATIONAL AND CULTURAL PROGRAMME AIMED AT CHILDREN WHO HAVE LIMITED ACCESS TO CULTURE

Initiated by the Fondation Culturespaces in 2015, ‘À la découverte de l’Hôtel de Caumont’ (‘Discovering the Hôtel de Caumont’) was established to make regional heritage accessible to children who have little or no access to culture. To date, more than 3,500 children have been able to take part in this project, which is funded by corporate and individual sponsorship.

THE INITIATIVE OF THE CULTURESPACES FOUNDATION

‘A la découverte de l’Hôtel de Caumont’ is an innovative way of approaching art and history because it takes a fresh look at the everyday lives of children in the eighteenth century. Aimed at children who have little access to culture due to social, psychological, physical, or geographic reasons, this two-stage programme helps children to develop general cultural awareness and arouse their curiosity about historical, architectural, and heritage issues.

Organisations that have already benefitted from this initiative in 2018 (up to 15 September):• 25 schools in the high priority educational network in Aix-en-Provence and Marseille• 5 social organisations • 2 medico-social facilities • Marseille Public Hospital (Assistance Publique Hôpitaux de Marseille, APHM)

ABOUT THE CULTURESPACES FOUNDATION

Operating under the aegis of the Fondation Agir Contre l’Exclusion (a foundation that combats social exclusion), and recognised as a public utility foundation, the Culturespaces Foundation promotes access to cultural heritage for children who are hospitalised, suffer from a handicap, or who are made vulnerable by poverty or social exclusion. With the conviction that the discovery of historic monuments and museums is the best way of providing access to culture, the Culturespaces Foundation specialises in creating customised educational initiatives before, during, and after visits.

[email protected]

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Supported by the Denibam Fondation and SEMEPA.

https://www.fondation-culturespaces.com/fr/home


VISUALS AVAILABLE FOR THE PRESS*

1. Marc Chagall, Le philosophe vindicatif, illustration n°20 pour les Contes de Boccace, Verve, (‘The vindictive philosopher’,illustration no. 20 for the tales of the Decameron by Boccaccio), in Verve, a French review of art 1949-1950China ink wash and China ink on paper, 34,1 x 27,8 cmPrivate collection, 1968-1971 © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Le cuisinier illustration n°13 pour les Contes du Décaméron de Boccace, Verve, (‘The cook’, illustration no. 20 for the tales of the Decameron by Boccaccio), in Verve, a French review of art), 1949-1950, China ink wash, China ink, and white gouache on paper, 34,1 x 27,8 cmPrivate collection, 1968-1971 © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

3. Marc Chagall, L’écuyère (‘The horsewoman’) 1955, China ink wash and gouache wash on paper, 105 x 75 cm, Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall 4. Marc Chagall, Two Heads with a Hand or Two Heads One Hand, circa 1964Carrara marble, 40 x 24,5 x 21 cm, Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

5. Marc Chagall, Le Peintre et le coq (‘The painter and the rooster’), 1953, China ink, grey wash on Japan paper Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall

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* Mentions and conditions p.37


1. Marc Chagall, Two nudes or Adam and Eve or Sculpture-column, 1953Sculpture, gray veined white marble with grosgrain type Carrara, 53,5 x 23 x 24 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Couple with Bouquet of Flowers, 1964China ink, grey wash, and watercolour on Japan paper, 95,5 x 61,5 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

3. Marc Chagall, The Fantastic Beast or The Donkey or The Fantastic Horse, 1952Sculpture, plaster on metal armature, 53 x 80 x 29 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

4. Marc Chagall, The Fantastic Beast or The Donkey or The Fantastic Horse, 1959-1960Sculpture, bronze, bronze proof, 52 x 80 x 20 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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1. Marc Chagall, Vase noir (‘Black Vase’), 1955Vase, turned piece, decoration with oxides on black engobes, under covered, 38 x 29 x 21 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

2. Marc Chagall, Couple With Bird or The Lovers on the Rooster or The Lovers and the Rooster, 1952 Bas-relief in crystalline Carrara marble, 33 x 32 x 8 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

3. Marc Chagall, Green Night, 1952Oil on canvas, 72 x 60 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 4. Marc Chagall, Lovers on the Stake, 1951Oil on canvas 96 x 128 cmCollection Cathy Odermatt-Védovi et François Odermatt© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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1. Marc Chagall, The tribe of Nephtali, sketch for the stained-glass windows in the synagogue in Hadassah-Hebrew Medical Centre, Jerusalem, 1961–1962 China ink wash, China ink, gouache, black pencil, and pastel on Japan, paper, 66 x 51,5 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Le chandelier, 1956, China ink wash, China ink, and white gouache on coloured paper, 61 x 52,3 cm, Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall

3. Marc Chagall, In Front of the Picture, 1968-1971, Oil on linen canvas, 116 x 89 cm, Fondation Marguerite et Aimé Maeght, Saint-Paul-de-Vence © ADAGP, Paris, 2019, Photo Claude Germain – Archives Fondation Maeght 4. Marc Chagall, Christ, 1921-1952,Stele made from Rognes stone or Gard stone, 52 x 23 x 14,5 cm, Private collection,© ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

5. Marc Chagall, The Exodus, 1952-1966, Oil on linen canvas, 130 x 162,3 cm, Donation in 1988, on permanent loan to the Musée National Marc Chagall, Nice, Centre Pompidou, Musée national d’art moderne – Centre de création industrielle © ADAGP, Paris, 2019, Photo © RMN-Grand Palais (musée Marc Chagall) / Gérard Blot

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1. Marc Chagall, The Peasant, 1958, Gouache, China ink, pastel, and crayon on Japan paper Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Opera Figures, 1968-1971Oil on canvas, 130 x 96,8 cm Pola Museum of Art, Hakone © ADAGP, Paris, 2019 © Pola Museum of Art, Pola Foundation

3. Marc Chagall, The Lovers and the Beast, 1957Vase, cast piece, white clay, decorations with slips and oxides, etched with dry point, 33 x 24 x 17 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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1. Marc Chagall, The circus, 1961Gouache and pastel on paper, 57,5 x 51 cmPola Museum of Art, Hakone © ADAGP, Paris, 2019 © Pola Museum of Art, Pola Art Foundation 2. Marc Chagall, Le songe (‘The Dream’), 1952Vase, moulded piece, white clay, decorations with slips and oxides, etched with a knife and dry point, partial enamel applied with paintbrush, interior lined with couverte, 33,7 x 23,3 x 23,3 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 3. Marc Chagall, Couple above St Paul, 1970-1971Oil, tempera, and sawdust on canvas, 145 x 130 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 4. Marc Chagall, Lune-Visage (‘Moon face’), circa 1968Gouache, pastel, colour pencil, and China ink on engraving, trial proof, 25,7 x 21,5 cmPrivate collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

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1. Marc Chagall, Sketch for Mauve Nude, vers 1967Gouache, China ink, pastel, coloured paper, painted paper, and fabricsglued onto paper, 24,3 x 20,6 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Sketch for Le Rappel, 1968-1971Gouache, China ink, pastel, pencil, printed fabrics, painted collages on paper, 16 x 16,2 cm Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris

3. Marc Chagall, Au fil du temps (Homme au manteau-botte inversé), planche II des Poèmes (Comme un barbare), Cramer, 1968,-1970Watercolour, China ink, and paper glued on engraving (trial proof) onprinted Japan paper, plate II of the Poèmes, Geneva, Galerie Cramer, 196833,7 x 26,4 cm, Private collection © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall

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CONDITIONS AND MENTIONS :

All the works of art contained in this file are protected by the copyright. The works of art controlled by ADAGP (www.adagp.fr) can be published under

the following conditions:

The 2 first reproductions illustrating an article dedicated to current events are free of charge if their format does not exceed a quarter of page.

Beyond this number (two) and exceeding this format (quarter of page), all reproductions are subjected to the payment of rights.

Any reproduction on the cover or on the front page has to be the object of a request for permission with ADAGP (Press Department).

The credit line to be mentioned with any reproduction is:

Name of the artist, title and date of work, followed by the copyright © ADAGP, Paris 2019, whatever is the origin of the image or the place of

preservation of the work.

For videos, journalists have to inform the ADAGP of the broadcast scheduled and mention the copyright © ADAGP Paris, 2019.

1. Marc Chagall, L’Arlequin, (‘The Harlequin’) 1968-1971Oil on canvas, 136 x 98 cmTaisei Corporation, Tokyo © ADAGP, Paris, 2019 © Archives Marc et Ida Chagall, Paris 2. Marc Chagall, Opera Figures, 1968-1971Oil on canvas, 130 x 96,8 cm Pola Museum of Art, Hakone © ADAGP, Paris, 2019 © Pola Museum of Art, Pola Foundation

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AROUND THE EXHIBITION

THE CATALOGUE

To complement the exhibition, Culturespaces is publishing a 192-page catalogue that includes all the works presented in the exhibition. On sale for €29 in the gift shop and online : www.boutique-culturespaces.com.

A SPECIAL EDITION OF CONNAISSANCE DES ARTS

The special edition of Connaissance des Arts provides an overview of 44 pages of the theme of the exhibition. On sale for €9,5 in the gift shop and online : www.boutique-culturespaces.com.

THE GUIDED TOUR FOR SMARTPHONE AND TABLET

This application, which is available in French and English, enables you to discover the finest works in the exhibition thanks to around twenty audio commentaries and the exhibition preview. The visit is in very high definition with an exceptional zoom depth. Cost: €2.99

THE GUIDE AUDIO

An audio guide with a selection of major works is available in two languages (French and English) at a cost of €3.

THE ACTIVITY BOOK FOR YOUNG CHILDREN

Given freely to each child (7–12 years old) who visits the exhibition, this activity book provides a guide that enables youngsters to observe, in an entertaining way, the major works in the exhibition by solving various puzzles.


PRACTICAL INFORMATION

ACCESS Hôtel de Caumont-Centre d’Art 3, rue Joseph Cabassol 13100 Aix-en-Provence Tél. : 04.42.20.70.01

OPENING TIMES Throughout the exhibition: 10 a.m. to 6 p.m. Last admission: 30 minutes before closing time.

RATES

Hôtel de Caumont-Centre d’Art + temporary exhibition: Full rate: 14 € I Senior rate: 13 € Reduced rate (Education Pass holders, students, disability card holders and unemployed): 11 € Youth rate (7 à 25 ans) : 9.5 € I Offer for families (2 adults + 2 young aged 7-25): 41 €Free for children under the age of 7 and journalists.

Group visit from 15 people (reservation) Contact : [email protected]

The rooms in the Hôtel de Caumont can be reserved for private or professional events. Contact: [email protected]

PRESS CONTACT Claudine Colin Communication Christelle Maureau [email protected] T. +33 (0)1 42 72 60 01

WEB www.caumont-centredart.com#ExpoChagallAix

Caumont Centre d’Art https://facebook.com/CaumontCentredArt

@Caumont_Aix https://twitter.com/Caumont_Aix

@caumontcentredart https://instagram.com/caumontcentredart

PARTNERS

3, rue Joseph Cabassol13100 Aix-en-ProvenceT. +33 (0)4 42 20 70 01www.caumont-centredart.comOuvert 7 jours sur 7 de 10h à 18h (octobre-avril)de 10h à 19h (mai-septembre) CONTACT PRESSEClaudine Colin CommunicationChristelle [email protected]. +33 (0)1 42 72 60 01 www.claudinecolin.com

Avec le soutienexceptionnel du

Avec le soutien de

3, rue Joseph Cabassol13100 Aix-en-ProvenceT. +33 (0)4 42 20 70 01www.caumont-centredart.comOpen everydayfrom 10 am to 6 pm (october-april)from 10 am to 7 pm (may-september)

PRESS CONTACTClaudine Colin CommunicationChristelle [email protected]. +33 (0)1 42 72 60 01www.claudinecolin.com

contents · the texts in the exhibition catalogue also focus on the periods that chagall spent in...

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