Fiddler on the roof of
modernism
Marc CHAGALL: 1887-1985
“He grabs a church and paints
with the church,” wrote a poet of the cubist era, Blaise Cendarrs. “He grabs a
cow and paints with the cow… He paints with an oxtail (With all the dirty passion
of a little Jewish town).” “Soutine? Stangely enough, no: Marc Shagall.”
Cendrars’ rhapsody reminds one how
different the late decades of that hugely productive painter were from his
early ones. One does not think of late Chagall in terms of the “dirty passion”
and “exacerbated sexuality” that struck his (mostly Gentile) friends in modern
painting’s golden age, Paris before 1914.
Instead one
thinks of an institutionalized, not to say industrialized, sweetness: the
Chagall of the blue, boneless angels, the muralist of Lincoln Center and the
fresco painter of the Paris Opera, the stationed-glass artist who flooded
interiors from the U. N. headquarters in New York City to Reims Cathedral in
France to the Hadassah-Hebrew University Medical Center in Jerusalem with the
soothing light of benign sentiment. His quasi-religious imagery, modular and
diffuse at the same time, would serve (with adjustments: drop the flying cow,
put in a menorah) to commemorate nearly anything, from the Holocaust to the
self-celebration of a bank. When he died at the age of 97 at his home near
Nice, Chagall’s career had spanned more that three—quarters of a century of
unremittingly active artmaking.
He was seen by
an immense constituency of collectors and museumgoers as an artist of the 20th
century. He had a lyric, flyaway, enraptured imagination, allied to an enviable
fluency of hand; the former could waken into marzipan poignancy, the latter
into routine charm. He left behind him an oeuvre of paintings, drawings,
prints, book illustrations, private and public art of every kind, rivaling
Picasso’s in size, if not always in variety or intensity. The number of novice
collectors who cut their milk teeth on a Shagall print (Bella with bouquet,
floating over the roofs, edition size 400, later moved to the guest bedroom to
make room for a large photorealist painting of motorcycle handlebars) is beyond
computation. Chagall may have given more people their soft introduction to art
dreams then any of his contemporaries. He was the fiddler on the roof of
modernism. If he sometimes paid his spiritual taxes in folkloric sugar, it may
not matter in the long run – for at Chagall’s death one consults the paintings
of his youth, whose wild eccentric beauty is indelible.
Chagall’s was a
textbook case of the way some artists receive their subject matter, their
grammar of signs, in childhood. He was a child of the Russian ghetto, born in
the town of Vitebsk in 1887; his father was a herring packer, his grandfather a
cantorand kosher butcher, his uncle an amateur violinist. The imagery of music
and shtetl folklore, mingled with the face of his childhood sweetheart (and
further wife), Bella Rosenfeld, furnished the unaltering ground of his work for
80 years, long after the close-knit and weak little societies it represented
had been incinerated by Hitler. “All the little fences, the little cows and
sheep looked to me as original, as ingenuous and as eternal as the buildings in
Giotto’s frescoes,” he reminisced in the ‘20s.
He developed his
wry and sweet visions in the two great forcing houses of modernism between 1900
and 1925: Paris and Russia. As a student in St. Petersburg up to 1910, he came
under the wing of Diaghilev’s designer Leon Bakst; an enlightened Jewish
patron, Max Vinaver, sent him to Paris that year. He took a studio in a rickety
building near the slaughteryards and found that his neighbors were Soutine,
Legel and Modigliani. Back in Russia by 1914, Chagall waited out World War I
(and was plunged into the Revolution) in the company of Tatlin, Malevich and
Kandinsky.
“Bliss was it in
that dawn to be alive” – especially for a young artist, eager to absorb what
this supreme moment of untainted modernism offered. In cubism, he felt, the
subject was “killed, cut to pieces and its form and surface disguised.” Chagall
did not want to go so far, but the flattening, reflection and rotation of
cubist form gave his early paintings their special radiance and precision. In
“Paris Through the Window”, 1913, we enter a rainbow world, all prismatic light
and jingling crystalline triangles. It is full of emblems of stringent
modernity: the Eiffel Tower, a parachutist. a train upside down but still
insouciantly chuffing. It owes a lot to his friend Robert Delaunay, who made
abstractions of Paris windows. But the picture is plucked back from the
analytic by its delicious strain of fantasy: a cat with a man’s head serenading
on the sill, a Janus head (Chagall himself, looking forward to modernism and
back to the village?) displaying a heart on his hand. He was unquestionably a
prince of tropes. “With Chagall alone,” said Andre Breton, leader of the
surrealists, “metaphor made its triumphant entry into modern painting.” And
though the procession that followed its entry had its tedious stretches,
involving some fairly shameless plucking on the heart-strings, the best of
Chagall remains indispensable to any nondoctrinaire reading of the art of the
20th century.
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