Marc Chagall

Estate of the artist

Private Collection

Acquired from the above in 1993

Paris, Musée du Louvre, Pavillon de Flore, Marc Chagall, Peintures Recentes 1967-1977, 1977-78, no. 45, illustrated in the catalogue (titled Pastorale and as dating from 1975-76)

Excellent condition. Original canvas. Inspection under UV reveals no retouches.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The poetic image of a violinist beneath the moonlight is derived from the expansive lexicon of images that populate Chagall's most captivating canvases.  Rich with intense color, this composition was painted in the last decade of the artist's life, when sentimentality, nostalgia and an appreciation of all things beautiful were the central focus of his paintings.  When it was exhibited at the Louvre in the late 1970s, it was listed in the catalogue under the title Pastorale, evocative of Beethovan's melodic symphony of the same name.  Indeed, the passages of vibrant color and harmony of images that Chagall presents does call to mind the soaring crescendos and temperate interludes of an engaging musical composition.

Performances of music, dance and the circus played an important role in Chagall's universe and provided an infinite source of inspiration for his painting. The theme was of great significance to him as a poetic, visionary experience a transcendental parallel to real life which indulged his imagination and propensity towards pure, lyrical escapism. The joyous atmosphere and the sense of celebration inherent to this subject certainly appealed to the artist's colourful, life-affirming vision, and he translated this sense of energy and movement into bold, lively compositions such as Le Violoniste sous la lune.

Musicians were among Chagall's favorite subjects since the early days of his career. Most frequently, he returned to the theme of the violinist, a figure that in his mind belonged to the world of circus and street entertainment, and was a strong symbol of Russian rural life.  Chagall painted the present compositionin the last decade of his life, and the figure of the violinist has now come full-circle, representing not only memories of his boyhood but of his own identification with the artistry of this richly-symbolic character.