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Chagall, impressions description
« Je suis sûr que Rembrandt m’aime » écrit Marc Chagall (1887-1985) en 1922, dans son autobiographie. Cette phrase, faisant référence à l’un des grands maîtres de l’estampe, est révélatrice de l’engagement de Chagall dans cet art.L’exposition organisée au Palais Lumière d’Evian se propose de présenter cet aspect moins connu de l’œuvre de Chagall. C’est en peintre que Chagall aborde les procédés d’impression, soucieux de transposer ses peintures sur le papier, tout en goûtant les possibilités plastiques offertes par la gravure et la lithographie. Les thèmes qu’il traite dans ses estampes se retrouvent en peinture et inversement : dans des compositions oniriques, Chagall mêle aux éléments autobiographiques et bibliques, des personnages de saltimbanques, des vues de Paris.
L’exposition retrace l’évolution des estampes de Chagall (gravures, lithographies, livres illustrés) en les replaçant dans le cadre général de l’œuvre de ce grand maître de la peinture du XXe siècle.
Elle repose sur la collection de lithographies rassemblée par Charles Sorlier, le fidèle assistant de Chagall dans l’atelier de lithographie de Fernand Mourlot, ainsi que sur le fonds de gravures de la Fondation Gérald Cramer, dernier éditeur des œuvres de Chagall. Ces ensembles seront complétés par des prêts d’œuvres provenant de collections publiques et privées permettant d’appréhender l’œuvre imprimé de Chagall dans toute sa diversité, tant technique que thématique.
"I'm sure Rembrandt loves me," writes Marc Chagall (1887-1985) in 1922, in his autobiography. This phrase, referring to one of the great masters of the print,
is indicative of the commitment of Chagall in this art.
The exhibition at the Palais Lumière in Evian is to present this lesser-known aspect of the work of Chagall. It is painter Chagall discusses printing processes, anxious to transpose his paintings on paper, while enjoying the visual possibilities of engraving and lithography. The themes he treats in his prints are found in paint and vice versa: in dreamlike compositions, Chagall combines autobiographical and biblical elements, characters, acrobats, views of Paris.
The exhibition traces the evolution of Chagall prints (etchings, lithographs, illustrated books) by placing them in the general context of the work of this great master of twentieth-century painting.
It is based on the collection of lithographs by Charles Sorlier gathered the faithful assistant in the workshop Chagall Lithograph Fernand Mourlot, as well as the funds of the prints Gérald Cramer, last editor works by Chagall Foundation. These sets will be supplemented by loans of works from public and private collections to apprehend the work of Chagall printed in all its diversity, both technically and thematically.
The exhibition at the Palais Lumière in Evian is to present this lesser-known aspect of the work of Chagall. It is painter Chagall discusses printing processes, anxious to transpose his paintings on paper, while enjoying the visual possibilities of engraving and lithography. The themes he treats in his prints are found in paint and vice versa: in dreamlike compositions, Chagall combines autobiographical and biblical elements, characters, acrobats, views of Paris.
The exhibition traces the evolution of Chagall prints (etchings, lithographs, illustrated books) by placing them in the general context of the work of this great master of twentieth-century painting.
It is based on the collection of lithographs by Charles Sorlier gathered the faithful assistant in the workshop Chagall Lithograph Fernand Mourlot, as well as the funds of the prints Gérald Cramer, last editor works by Chagall Foundation. These sets will be supplemented by loans of works from public and private collections to apprehend the work of Chagall printed in all its diversity, both technically and thematically.
