Marc Chagall (1887-1985) - photo 1
Marc Chagall (1887-1985) - photo 2
Marc Chagall (1887-1985) - photo 3
Marc Chagall (1887-1985) - photo 4
Marc Chagall (1887-1985) - photo 5

Marc Chagall (1887-1985)

Lot 22
09.04.2024 16:00UTC +01:00
Classic
Sold
€ 655 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1177502
Lot 22 | Marc Chagall (1887-1985)
Estimate value
€ 400 000 – 600 000
Marc Chagall (1887-1985)

Amoureux au bouquet de fleurs ou Les Amoureux aux fleurs

signé 'MArC chAgAll' (en bas à droite); signé 'MArC chAgAll' (au revers)

gouache, pastel gras et encre de Chine sur carton marouflé sur toile

64.3 x 49.2 cm.

Exécuté en 1950-52



signed 'MArC chAgAll' (lower right); signed 'MArC chAgAll' (on the reverse)

gouache, wax pastel and brush and India ink on board laid down on canvas

25 ¼ x 19 3⁄8 in.

Executed in 1950-52





Provenance

Atelier de l'artiste.

Madame Jean Krebs, Bruxelles (acquis auprès de celui-ci).

Acquis auprès de celle-ci par la famille du propriétaire actuel en mai 1976.



Exhibited

Marcq-en-Barœul, Fondation Anne et Albert Prouvost, Hommage à Marc Chagall, octobre-novembre 1975, no. 54 (illustré).



Further details

En 1950, Marc Chagall se fixe à Saint-Paul-de-Vence. Là, voit le jour une multitude de toiles inondées de lumière méditerranéenne. Cette période qui suit son retour d’Amérique, est marquée par des représentations lyriques et sentimentales de couples flottants dans des paysages oniriques où le réel et l'imaginaire se fondent.
Dans les années 1950, les éléments iconographiques de l’artiste prennent une place bien définie dans l’espace et les transitions entre les couleurs se font plus douces et harmonieuses. Ainsi, dans les présents Amoureux au bouquet de fleurs, les motifs sont à la fois bien distincts, tout en s’entremêlant et en semblant naître les uns des autres.
Une monumentale gerbe de fleurs colorées occupe le centre de la composition, elle surmonte un panier de fruits posé sur le toit d’une maison. Cette association de motifs évoque la plénitude de la vie et ses dons, une célébration de l'abondance naturelle et spirituelle.
Le couple d’amoureux, enlacés dans l’angle inférieur droit de la composition, reflète la romance éternelle et l'union spirituelle. Il s'agit certainement d’une réminiscence du couple que Marc Chagall formait avec Bella Rosenfeld, son épouse bien-aimée éteinte en 1944. Il pourrait aussi s’agir d’une évocation de sa nouvelle épouse Valentine Brodsky, Vava, rencontrée au printemps 1952. Ce couple est protégé par un coq, motif récurrent dans l’œuvre de Chagall et traditionnellement associé à une dimension protectrice, tel un gardien qui annonce le jour et éloigne les ténèbres.
La scène est baignée dans un bleu nocturne que Chagall appréciait particulièrement et à laquelle il s’y identifiait même. Il disait à propos de cette couleur : « Pourquoi bleu ? Mais je suis bleu, comme Rembrandt était brun. » Mais ses bleus ne sont jamais que des bleus, ils sont profonds, intenses, modulés. Le bleu qui envahit la présente œuvre sert non seulement de fond à la composition mais aussi d'expression de sentiments intérieurs.
L’ensemble de ces éléments crée ainsi un univers doux et joyeux. La présente œuvre, riche en symboles et en couleurs, illustre parfaitement la capacité unique de Chagall à transposer des émotions intimes et des thèmes personnels en images universellement accessibles.

In 1950, Marc Chagall settled in Saint-Paul-de-Vence. It was here that a multitude of canvases flooded with Mediterranean light saw the light of day. This period, which followed his return from America, was marked by lyrical and sentimental representations of couples floating in dreamlike landscapes where reality and imagination merged.
In the 1950s, the artist's iconographic elements took on a clearly defined place in space, and the transitions between colours became smoother and more harmonious. In Amoureux au bouquet de fleurs, for example, the motifs are both distinct and intertwined, seeming to grow out of each other.A monumental spray of colourful flowers occupies the centre of the composition, surmounting a basket of fruit placed on the roof of a house. This combination of motifs evokes the fullness of life and its gifts, a celebration of natural and spiritual abundance.
The lovers, embracing in the lower right-hand corner of the composition, reflect eternal romance and spiritual union. It is certainly a reminiscence of the couple Marc Chagall formed with Bella Rosenfeld, his beloved wife who died in 1944. It could also be a reference to his new wife Valentine Brodsky, Vava, whom he met in the spring of 1952. The couple is protected by a cockerel, a recurring motif in Chagall's work and traditionally associated with a protective dimension, like a guardian heralding the day and warding off darkness.The scene is bathed in a nocturnal blue that Chagall particularly appreciated and even identified with. He said of this colour: "Why blue? But I am blue, just as Rembrandt was brown". But his blues are never just blues; they are deep, intense, modulated. The blue that pervades the present work serves not only as a background for the composition but also as an expression of inner feelings.Together, these elements create a gentle, joyful world. The present work, rich in symbolism and colour, is a perfect illustration of Chagall's unique ability to transpose intimate emotions and personal themes into universally accessible images.
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