Marc Chagall et Ambroise Vollard. Catalogue Complet des Gravures exécutées par Chagall a la Demande de Ambroise Vollard

Loading...
Thumbnail Image

Authors

Chagall, Marc
Malraux, André,
Marteau, Robert
Sorlier, Charles

Issue Date

1981

Type

Book, Whole

Language

Keywords

Research Projects

Organizational Units

Journal Issue

Alternative Title

Abstract

Here is a complete visual catalogue for Les Ames Mortes, Fables de Fontaine, and La Bible. After long negotiations over a much more costly version of this book, I was happy to find it where I had never thought of looking, on Amazon. The book includes texts from Chagall, André Malraux, and Robert Marteau. The texts by the first two at the beginning of the book are each literally one paragraph long. Sorlier offers a longer essay on the interaction of the two men (13-20). Marteau writes the introduction to each of the three sections. Everything in this large-format book is done in black-and-white; even the dust-jacket is done black-and-white on a gray background. Marteau points out that the 1927 agreement between Vollard and Chagall for the fables was for black-and-white etchings. Marteau's view is arresting: Mais dans ce blanc et noir de l'eau-forte, toute la couleur des gouaches est contenue (75). Apparently Chagall would keep going over the original etchings to add layer after layer of subtlety. Vollard, through a friend, called Chagall back to Paris in 1923, and Chagall agreed then to do some 118 etchings for Les Ames Mortes. Apparently that book was not published until 1948 by Teriade. After finishing his work on Les Ames Mortes, Chagall proposed to Vollard that he do a book of etchings for La Fontaine's fables. That possibility apparently caused an uproar in Paris. Vollard knew what he wanted and had a sense that Chagall could provide it. Chagall did provide a hundred gouaches that Vollard found dazzling. But getting from gouache to copper etching proved difficult. Because of these difficulties, Chagall chose to do black-and-white etchings. Chagall delivered the last of the 100 plates in 1931, but they were not published until Teriade did it in 1952. With that, Chagall turned to La Bible. The illustrations for La Fontaine's fables here occur either one or four to a page..

Description

Citation

Publisher

Éditions Galerie Matignon

License

Journal

Volume

Issue

PubMed ID

DOI

ISSN

EISSN

Collections