| I and the Village | |
|---|---|
 | |
| Artist | Marc Chagall |
| Year | 1911 |
| Catalogue | 78984 |
| Medium | Oil on canvas |
| Dimensions | 192.1 cm× 151.4 cm(75.6 in× 59.6 in) |
| Location | Museum of Modern Art, New York |
| Accession | 146.1945 |
I and the Village is a 1911 oil-on-canvas painting by the Belarusian-French artist Marc Chagall created in 1911. It is exhibited at the Museum of Modern Art, New York. [1]
The work is Cubist in construction and contains many soft, dreamlike images overlapping one another in a continuous space. [1] [2] In the foreground, a cap-wearing green-faced man stares at a goat or sheep with the image of a smaller goat being milked on its cheek. In the foreground is a glowing tree held in the man's dark hand. The background features a collection of houses next to an Orthodox church, and an upside-down female violinist in front of a black-clothed man holding a scythe. The green-faced man wears a necklace with St. Andrew's cross. As the title suggests, I and the Village is influenced by memories of the artist's place of birth and his relationship to it. [1] [3] [4]
The significance of the painting lies in its seamless integration of various elements of Eastern European folktales and culture, both Belarusian and Yiddish. [5] Its clearly defined semiotic elements (e.g. The Tree of Life) and daringly whimsical style were at the time considered groundbreaking. [6] Its frenetic, fanciful style [3] is credited to Chagall's childhood memories becoming, in the words of scholar H. W. Janson, a "cubist fairy tale" [7] reshaped by his imagination, without regard to natural color, size or even the laws of gravity. [3]
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he played in the development of Cubism. Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.
Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture. Cubist subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.
New materials in 20th-century art were introduced to art making from the very beginning of the century. The introduction of new materials and heretofore non-art materials helped drive change in art during the 20th century. Traditional materials and techniques were not necessarily displaced in the 20th century. Rather, they functioned alongside innovations that came with the 20th century. Such mainstays as oil-on-canvas painting, and sculpting in traditional materials continued right through the 20th century into the 21st century. Furthermore, even "traditional" materials were greatly expanded in the course of the 20th century. The number of pigments available to artists has increased both in quantity and quality, by most reckoning. New formulations for traditional materials especially the commercial availability of acrylic paint have become widely used, introducing initial issues over their stability and longevity.
Marc Chagall was a Belarusian, Russian and French artist. An early modernist, he was associated with the École de Paris as well as several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Joseph Fernand Henri Léger was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art.
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907, Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.
The White Crucifixion is a painting by Marc Chagall depicting the Crucifixion of Jesus. It was painted in 1938 after Chagall had visited Europe, and is in the permanent collection of the Art Institute of Chicago.
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Dancer in a Café is an oil painting created in 1912 by the French artist and theorist Jean Metzinger. The work was created while Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, were publishing, Du "Cubisme", the first major defense of the Cubist movement, and it was first displayed at the 1912 Salon d'Automne in Paris. The work proved controversial within the Municipal Council of Paris, causing debate in the Chambre des Députés about the use of public funds to exhibit such 'barbaric' art, with the Cubists being defended by the Socialist deputy Marcel Sembat.
Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette. It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.
Académie de La Palette, also called Académie La Palette and La Palette,, was a private art school in Paris, France, active between 1888 and 1925, aimed at promoting 'conciliation entre la liberté et le respect de la tradition'.
Portrait of Jacques Nayral is a large oil painting created in 1911 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited in Paris at the Salon d'Automne of 1911, the Salon de la Section d'Or, 1912, and reproduced in Du "Cubisme" written by Jean Metzinger and Albert Gleizes in 1912, the first and only manifesto on Cubism. Metzinger in 1911 described Gleizes' painting as 'a great portrait'. Portrait of Jacques Nayral, one of Gleizes' first major Cubist works, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form characteristic of Cubism at the outset of 1911. Highly sophisticated in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or. Here, Gleizes deploys these techniques in a radical, personal and coherent manner.
Du "Cubisme", also written Du Cubisme, or Du « Cubisme », is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism, predating Les Peintres Cubistes by Guillaume Apollinaire (1913). The book is illustrated with black and white photographs of works by Paul Cézanne (1), Gleizes (5), Metzinger (5), Fernand Léger (5), Juan Gris (1), Francis Picabia (2), Marcel Duchamp (2), Pablo Picasso (1), Georges Braque (1), André Derain (1), and Marie Laurencin (2).
Man with a Pipe, also referred to as Portrait of an American Smoker, Portrait of an American Smoking, American Smoking and American Man, is a painting by the French Cubist artist Jean Metzinger. The work was reproduced on the cover of catalogue of the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, forming part of a show in 1913 that traveled to several U.S. cities: Milwaukee, Cleveland, Pittsburgh, New York, and Philadelphia.
Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.
Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following Du "Cubisme" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, Histoire anecdotique du cubisme (1912).
Cubist Landscape, also referred to as Tree and River and Paysage cubiste or Arbre et fleuve, is a Cubist painting created in 1914 by the French artist Albert Gleizes. Tree and River is one of Gleizes' last pre-World War I landscapes. A comparison with earlier works such as Le Chemin, Paysage à Meudon (1911), Les Baigneuses (Gleizes) (1912), Harvest Threshing (1912) and Passy, Bridges of Paris (1912) demonstrates the artists' continuity with the theme of deep spatial vistas and wide panoramic views, though with a notable diminution of specific references to reality. The painting was reproduced in the German art and literary magazine Der Sturm October 1920.
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