Les AMOUREUX sur FOND JAUNE
The portrait of Marc Chagall Les Amoureux sur fond jaune (1960), private collection, shows some constant themes in the painting of the Russian artist: the love, the married couple, the nature.
Two flowers, dressed with wedding clothes, are painted in a domestic interior, gladden by fruits and owers: a simple and direct iconography but that, at the same time, resounds at length in the whole pictorial and graphical Chagall’s production.
(Daniela Vasta, 2017)
Litographie I is the first act of an artistic and editorial path that will give light to six gorgeous volumes. This act is the most valuable because the few copies equipped with the artist’s original lithographies don’t have comparison in the following volumes, because of the limited run (only 100 examples), of the intense and varied use of color, of the print’s quality and the selected paper. It’s not a coincidence that the wellknown researcher-editor Fernand Mourlot worked together with the expert editor André Saure. He personally created the realization of the original lithographies. The artworks were born in 1960, and they go through Chagall’s poetic development by using the themes dearest to the artist. Since Chagall frequently used colors, here the “graphical” quality of the etchings stands out.
The cycle of the Bible by Chagall represents one of the rare and most important works of our century aimed to illustrate the holy book. Chagall represents one of the few artists, lived in 20th century, which dealt with traditional and religious subjects.
The anecdotal spirit, the spontaneity and the Dead Souls’ perspicacity, the intelligence and the technical abilities of Fairytales get accomplished here in the big Bible’s drama. The plates are soaked with a strong religious afflatus that brings back to the origins of the world and the figures represent the biblical characters, angels and animals, whose spirit is eminently resumed in the image of Abramo’s gesture while he frankly cries for Sara.