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Dimensions: measurements 62 3/4 by 121 1/2 in. alternate measurements 159.5 by 308.5 cm
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Provenance:
Gustave Stern Foundation, New YorkAcquired from the above by the present owner
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Exhibited:
Berne, Kunsthalle, Marc Chagall, Oeuvres de 1950 à 1956 , 1956, no. 46
Basel, Kunsthalle, Oeuvres des 25 dernières années , 1956, no. 61
Paris, Galerie Maeght, Marc Chagall, 1957, no. 5
Brussels, Palais des Beaux-Arts; Amsterdam, Stedelijk Museum, L'oeuvre des dernières années, 1956-57, no. 147
Hamburg, Kunsthalle; Munich, Haus der Kunst, Chagall-Ausstellung, 1959, no. 166
Paris, Musée des arts décoratifs, Exposition Marc Chagall, 1959, no. 174
South Bend, Indiana, University of Notre Dame Art Gallery, 1965
Zürich, Kunsthaus (on loan)
Jerusalem, The Israel Museum, Chagall in Israel , 2002-03
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Notes:
The authenticity of this work has kindly been confirmed by the Comité Chagall.
Chagall found an endless amount of pleasure in depicting the visual splendor of the circus. Throughout his career he drew great creative energy from watching the event, and some of his most important canvases are fantastic depictions that exaggerate the pageantry of the performance. Â?ItÂ?s a magic world, the circus,Â? Chagall once wrote, Â?an age-old game that is danced, and in which tears and smiles, the play of arms and legs take the form of great artÂ?.The circus is the performance that seems to me the most tragic. Throughout the centuries, it has been manÂ?s most piercing cry in his search for entertainment and joy. It often takes the form of lofty poetry. I seem to see a Don Quixote in search of an ideal, like that marvelous clown who wept and dreamed of human love.Â?
Although this picture is mostly populated by circus performers, these characters had many levels of significance for the artist. To him, they represented the many faces of manÂ?s emotional character, both fun-loving and tragic. He once wrote, Â?I have always considered the clowns, acrobats, and actors as being tragically human who, for me, would resemble characters from certain religious paintings. And even today, when I paint a Crucifixion or another religious painting, I experience again almost the same sensations that I felt while painting circus people, and yet there is nothing literary in these paintings, and it is very difficult to explain why I find a psycho-plastic resemblance between the two kinds of composition.Â?
ChagallÂ?s fascination with the circus dates back to his childhood in Vitebsk and his years in Paris when he frequently attended the circus with Ambroise Vollard. As Venturi explains, Â?The importance of the circus motif in modern French literature and painting is well known; in painting it suffices to recall the names of Seurat and Rouault. As always, ChagallÂ?s images of circus people Â? 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 ChagallÂ?s heart. These circus scenes are mature realizations of earlier dreamsÂ? (Lionello Venturi, Marc Chagall, New York, 1945, p. 39).
Fig. 1, Chagall in his studio. Photograph by Virginia Haggard, Brussels
