朱子潔
Guillaume Apollinaire That gentle Zeus Surnaturel(supernature) Surrealism Chagall deny
The ‘valen<ne’ addressed to…… • Apollinaire • Herwarth Walden, director of Der Sturm gallery (Berlin)
The ‘valen<ne’ addressed to…… • Blaise Cendrars, eccentric Swiss poet and close friend and supporter of Chagall RicoHo Canudo, Italian editor of an important modern art magazine, Montjoie
Homage to Apollinaire, 1911-‐1912,oil gold and silver powder on canvas
Analy<cal Cubism the influence of Delaunay and Orphism(奧菲主 義)
Symbol • Clouds﹑birds and the midnight blue infinity • Circle becomes a clock finite
Midrash(the Hebrew legends) • 9 :00 Adam and Eve were warned not to eat of the tree • 10 :00 they transgressed • 11 :00 they were judged
更多的暗示 • • • • •
Chagall, Chgll Marc “a” “r” Circle Adam/Eve figure stands 9011
更多的暗示 air, Apollinaire wald(German for forest),Walden cendres(French for ashes),Cendres water,Canudo(the final o sound like eau,the French for water) " Esoteric and cerebral works • • • •
楊子頤
The Ferris Wheel,c.1912. Oil on canvas; 65X92cm, 2558x3635in. Private collec<on
Pari in French = Bet
The Ferris Wheel,c.1912. Oil on canvas; 65X92cm, 2558x3635in. Private collec<on
The Ferris Wheel,c.1912. Oil on canvas; 65X92cm, 2558x3635in. Private collec<on
Birth,1911. Oil on canvas; 113.3x195.3cm, 4458x7678in. The Art Ins<tute of Chicago
Birth,1910. Oil on canvas; 65x89.5cm.
羅苡珊
1912: The Pinch of Snuff Jew at Prayer • Jewish religious themes. • Response to similar subjects treated by Yehuda Pen.( Chagall’s erstwhile teacher) • Be reproduced in the August 1912 issue of the journal Ost und West(east and west).
Jew at Prayer (Rabbi of Vitebsk)
Jew at Prayer(Rabbi of Vitebsk), 1914 Oil on canvas, 104 x 84 cm. Art Ins<tute of Chicago, Chicago, IL, USA
The Pinch of Snuff The Pinch of Snuff, 1912 Oil on canvas, 117 x 89.5 cm Private Collec<on
• 有⾃自覺地以Morning Chapter from the Talmud 為原型，原始主義式地加⼯工繪製⽽而成。 • 畫名暗中指向了Yiddish作家I L Peretz的同名 故事：聖潔的猶太學者墮⼊入撒旦的詭計之中， 只因為他由於⼀一撮鼻煙招致的虛弱。 • 版本⼀一之中，Chagall 寫下原名”Segal, Moyshe”在打開的書本上，且⾯面向觀眾，好 似公眾地肯認了他的猶太認同。 • ⽽而他普遍使⽤用的”Chagall”則是上下顛倒， ⾯面向畫中虔誠的猶太教徒，好似同時也肯定了 他不朽的⾝身份認同，並⾯面對宗教的正統性。
Yehuda Pen: Chagall’s teacher
• 1854-‐1937 • 一位猶太文藝復興在俄國的 重要人物，也在20世紀初期 的白俄羅斯藝術中佔有重要 地位。 • 1891年抵達Vitebsk. • 1892年，創建The Jewish Art School(帝俄首間繪畫專門學 校)，課堂以意第緒語授課。 • He remained a religious Jew all of his life, pain<ng the daily life of the Jewish community.
I L Peretz: a Yiddish writer • 1852-‐1915 • 來自波蘭，以意第緒語寫作的作家及劇 作家。 • 被視為三大古典意第緒作家之一。 • Sol Liptzin：Peretz激勵了他的讀者，並 使之擁有自我解放及反抗的力量。 • 人性的脆弱並非是要抹除的部分，而是 必須被允許、並細心看待的事物。 • 他的短篇故事例如If Not Higher, The Treasure, Beside the Dying，皆著重於真 誠與虔誠的重要性，勝過於全然且盲目 的宗教崇拜。
1911-‐1913: To Russia, Asses and Others The CaHle Dealer I and the Village The flying Carriage • 即使仍有許多怪異且無邏輯的元素，必須以意 第緒的語境——而非俄國——去理解，這些畫 作依舊明顯地指向了夏卡爾在俄國的農民生活。
To Russia, Asses and Others, 1911 Oil on canvas, 157 x 122 cm Musée na<onal d'art moderne, Centre Georges Pompidou, Paris
The CaHle Dealer, 1912 oil on canvas, 97 x 200.5 cm Kunsthalle Basel Italian and other European Art (Scala Archives)
I and the Village, 1911 oil on canvas, 191 x 150.5 cm. Museum of Modern Art, New York, USA
The flying Carriage 1913 oil on canvas 42 x 47 1/4 inches
唐勗維
The Violinist （1912-‐1913）
The violin 猶太、俄國、基督教 My life
The Violinist （1912-‐1913）
Mstislav Dobuzhinsky Window at the Hairdresser 1906
Half Past Three or The Poet 1911
Osiris 歐西里斯
The Violinist （1912-‐1913）
The Violinist （1912-‐1913）
電影：屋頂上的提琴手 Fiddler on the roof : Tradi<on
hHps://www.youtube.com/watch?v=sWSoYCetG6A
01:50-‐03:40 04:40-‐06:40
屋頂上的提琴手 Fiddler on the roof 婚禮、fes<val occasions 屋頂：失去土地、離散（Diasopra） 傳統（Tradi<ons）：生存環境與信仰尊嚴的平衡之道 時代衝擊，變與常的分寸拿捏： （1）經濟：大女兒特拉 Tzeitel 與窮裁縫卡姆佐 Motel Kamzoil （2）政治：二女兒霍德 Hodel 與基輔革命學生帕契克 Perchik （3）信仰：三女兒夏娃 Chava 與東正教青年菲得卡 Fyedka 理解與體諒、再次離散
張如儀
夏卡爾與他的好朋友 • “Chagall’s sharp compe<<ve spirit made friendships with painters almost impossible…” -‐ Jackie Wullschlager, 2008 • Blaise Cendrars “My mee<ng with Blaise Cendrars and the Russian Revolu<on.”
Blaise Cendrars Frédéric-‐Louis Saucer 1887, the Switzerland 詩人、小說家、globetroHer “It’s not my ambi<on to write, but to live.” • “nouveau homme” • Dedicated to My Fiancée • • • •
On y lave les nouveaux-‐nés Des ciels de folie Bouches de modernité La Tour en <re-‐bouchon Des mains Le Christ Le Christ c’est lui Il a passé son enfance sur la croix Il se suicide tous les jours Tout à coup, il ne peint plus Il était éveillé Il dort maintenant Il s’étrangle avec sa cravate Chagall est étonné de vivre encore Blaise Cendrars -‐Dix-‐neuf poèmes élas<ques
Descent from the Cross Marc Chagall 1968 -‐ 1976
There is Jesus portrayed as a version of Chagall himself, with "MARC CH" where we might expect to find "INRI” -‐A Jewish Ar<st Haunted By the Face of Jesus (Jonathan Wilson, 2007)
成功的開端 • 藝術界人脈 Delaunay, Apollinaire, Modigliani, Léger… • 俄國藝術在西歐逐漸產生影響力 -‐ From a barbarian to a teacher.
楊量鈞
立體主義 • 破碎+重組 • 上面+下面；左邊+右邊
被下架 • Removed from the wall of the 1912 Salon des Independants an hour ayer the opening for its alleged obscenity.
<The Ass and the Woman> <Dedicated to My fiancee> Marc Chagall, 1911
討生活 • Learn to be landscapist(Jean-‐Bap<ste-‐Camille Corot): “I took a photograph, but the more I tried to do a Corot, the further I got from it, and I ended up in the style of Chagall.”
Guillaume Apollinaire • “Do you know what we ought to do, Monsieur Walden? We ought to organize an exhibi<on of this young man’s works. Don’t you know him…? Marc Chagall…?”
< Homage to Apollinaire> Marc Chagall, 1911-‐1912
Herwarth Walden • Founder of Der Sturm magazine • Avant-‐garde art • Walden suggest Chagall submit works to the Salon that he hold in Germany.
Der Sturm (The Storm)
<To Russia, Asses and Others> Marc Chagall, 1912
<Dedicated to Christ> Marc Chagall, 1912
• Dedicated to Christ, which was bought by the German collector Bernhardt Kohler, was the first major work by Chagall to be sold, and also the first to reveal his lifelong preoccupa<on.
• In April 1913 Chagall shared an exhibi<on at the Der Sturm gallery with the proto-‐Surrealist Austrian ar<st Alfred Kubin. Only subsequently did Walden offer him his first one-‐man show: • Forty or so canvases, unframed but represen<ng almost his en<re Parisian output, were hung close together on the walls of the editorial office of Der Sturm.
藝術家要如何成功？ 1. 結交好友(有影響力的，藝文界、媒體界尤 佳) 2. 了解主流，並反其道而行 3. 和宗教、神祕主義or哲學沾染，廣設符號， 彙成如同達文西密碼般的作品à讓人們自 我解讀
王家珍
Der Sturm (The Storm) • Art and literary magazine • Expressionism, Cubism, Dada and Surrealism • 1910-‐1932
Marcella 1909 Oil on canvas Moderna Museet, Stoccolma
Nu aux fleurs 1909 Oil on canvas Moderna Museet, Stoccolma
Wine bar 1913 Berlino, Brücke-‐Museum
The Soldier Drinks 1913 New York, The Solomon R. Guggenheim Museum
Heinrich Campendonk
Komposi<on mit 2 Figuren 1912 Works on papaer
Bucolic Landscape 1913 oil on canvas Saint Louis Art Museum
Mariä Verkündigung 1919 Works on Paper
Russia. Asses and Others. 1911 -‐ 1912 Paris, Musee Na<onal Art Moderne, Centre Georges Pompidou
Mann, Pferd, Kuh 1918 oil on canvas 25 x 30 1/8 in. (63.5 x 76.5 cm)
I and the Village 1911 Oil on canvas New York, Museum of Modern Art