Marc Chagall

Galerie Maeght, Paris

Fondation Maeght, Saint-Paul-de-Vence

Private Collection, Europe (acquired from the above in 1966. Sold: Christie's, New York, 10th May 1994, lot 70)

Purchased at the above sale by the family of the present owner

Zurich, Kunsthaus, Chagall, 1967, no. 170

Saint-Paul-de-Vence, Fondation Maeght, Hommage à Marc Chagall, œuvres de 1947-1967, 1967, no. 74

The canvas is unlined. Apart from three small areas of retouching in the upper part of the left framing edge, a small area of retouching in the upper left corner, a small area of retouching towards the bottom of the right framing edge and a diagonal area of retouching above the waist of the purple figure in the lower right, visible under ultra-violet light, this work is in good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although slightly richer and more vibrant in the original.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

'For me a circus is a magic show that appears and disappears like a world. A circus is disturbing. It is profound.'
Marc Chagall

Cirque au village is a bold and resplendent example of the creative energy and sense of theatre which Chagall never ceased to find in the subject of the circus. The artist developed his fascination with the circus during his formative years in Vitebsk, and later in Paris, where he frequently attended performances in the company of Ambroise Vollard. 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: ‘it is a magic world, circus, a timeless dancing game where tears and smiles, the play of arms and legs take the form of a great art’ (Marc Chagall, Le Cirque (exhibition catalogue), Pierre Matisse Gallery, New York, 1981, n.p.). This most poignant of themes was to recur often throughout Chagall’s œuvre.

 

The present work is a vivid phantasmagoria, a diverse pictorial scheme comprised of many different episodes in the circus performance that occupy the entire composition – from the trapeze artist at the top, horse riders and acrobats in the middle, to the clowns at the bottom of the canvas. The audience is depicted in a semi-circle at the centre of the composition, echoing a number of circular objects throughout. Numerous figures – both human and animal – and Chagall’s characteristic strong, vibrant palette animate the canvas, creating a palpable sense of energy, movement and excitement of the live performance. Lionello Venturi has alluded to the highly emotive quality with which Chagall imbues the circus theme: ‘Chagall’s images of circus people [...] are at once burlesque and tender. Their perspective of sentiment, their fantastic forms, suggest that the painter is amusing himself in a freer mood than usual; and the result is eloquent of the unmistakable purity flowing from Chagall’s heart. These circus scenes are mature realisations of earlier dreams’ (L. Venturi, Marc Chagall, New York, 1945, p. 39).

 

For Chagall, the temporary quality of the circus and its combination of joy and drama represented a symbol of life itself. He identified with the emotions played out in a circus performance, and the magic of the circus, his artistic vision and life all merged into a single world of fantasy. The artist explained his fascination with this theme: ‘These clowns, bareback riders and acrobats have made themselves at home in my visions. Why? Why am I so touched by their make-up and their grimaces? With them I can move toward new horizons. Lured by their colors and make-up, I dream of painting new psychic distortions’ (Chagall, quoted in Jacob Baal-Teshuva (ed.), Chagall: A Retrospective, New York, 1995, p. 197).