No matter if he is painting religious images, landscapes, life memories or sheer fantasies . . . the dream-like quality in Marc Chagall’s work is always unmistakeable.
And with today’s painting “The Madonna of the Village”- we get all of the above in one beautiful vision!
An image which, in my opinion is one of Chagall’s very best; though, it is worth mentioning that it was actually painted under some of the worst possible circumstances for any artist.
Indeed, if we zoom in on the bottom left hand corner (see below) - we can see exactly when Chagall was at work on this masterpiece.
1938 - 1942.
A period in which his work - and, indeed, his life - were both under increasing threat.
The rise of the Nazi party in Germany had led to an outright campaign to censor or destroy any art that did not fit their own political ideals.
But of course, the so called “war” on modern art was really nothing in comparison to the all out war that erupted in 1939 . . . and the rise of an anti-Semitism which would lead to unimaginable horrors in the coming years.
Thus, as a Jewish man - a modern artist - and a Russian immigrant, now living in German occupied Paris . . . Chagall had every reason to be in fear for his life.
And in many ways, it is something of a miracle that he survived the war*
(* Chagall was threatened with arrest and concentration camps on numerous occasions before his eventual escape to the USA in 1941)
Yet, in amongst all such upheaval, the Madonna of the Village remained a constant companion for him over the course of these years.
And while the religious theme obviously suggest a man seeking a kind of sanctuary through art - it is also quite telling that he does not depict a scene of war or destruction here.
Rather, his Madonna is a kind of personal reflection. Hence, the figure of “Mary” (above) is actually modelled by his own wife Bella (And the one kissing her forehead is generally considered to be a kind of self portrait of Chagall himself)
Then, it is also worth noticing that we have the burning candle over the village - which symbolises how we often “hold a candle” for the places we once loved. (And probably speaks directly for how Chagall still feels for Paris, even though he has increasingly been treated as an outcast or “persona non grata” there.)
And in terms of the general colour composition too . . . notice how the bottom half of his landscape is predominately dark, and void of life - with the use of deep blues suggesting a world in mourning.
Yet still, in those heavenly skies above, we see the promise of light!
There are angels flying, music playing, and a very familiar motive from many of Chagall’s other work of a goat playing the violin - which seems to suggest this message of how light, beauty, and art itself can all still survive, even in a world of darkness.
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This is not a work I had noticed to any great extent before, but now today, with the world being in the state it is in, I am greatly moved by this beauty. Thanks you again for a timely revelation…
I loved this painting and the story of Chagalls life….while painting it. The circumstances surrounding him and his moving to the US, so interesting!! Thankyou 💕🕊️🙏🏻