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Paris l'Opera - Complimentary Signature(251 views)
This fantastic original lithograph poster was commissioned by the Office of French Tourism to celebrate the repainting of the Palais Garnier auditorium ceiling, done by Modern Master Marc Chagall in 1963-64.
This poster shows a detail of this ceiling, focusing on Romeo and Juliet (Sorlier p.96), the famous lovers in a warm embrace as they hover above Paris. 5000 proofs with text over the picture, 200 proofs without text on Arches Vellum, 25 artist's proofs, signed and numbered in Arabic numbers, Several proofs not for trade.
Chagall Romeo and Juliette (Romeo and Juliet), 1964 is particularly remarkable due to its impressive size and superb color quality. Combining images of Paris, the figures of Romeo and Juliet and signature elements such as the horse and bouquet of flowers, Chagall captures a sense of romance and history. The great monuments of Paris function as a backdrop for the timeless love of Romeo and Juliet how appear floating through the sky. The lovers appear again encircled by the light of the moon in the upper right-hand corner, possibly symbolizing their eternal unity and undying love.
It should be noted that this masterpiece was a gift from Chagall to Paris and that he accepted absolutely no compensation for the titanic task. (Sorlier, pg. 96) Created in 1964, this work was adapted by Charles Sorlier from a preliminary study created by Chagall for the new ceiling of the Opera Garnier in Paris. This particular image was created as a tribute to Berlioz for his rendition of the classic, Romeo and Juliet.
Excerpt from Charles Sorlier's Chagall's Posters, Catalogue Raisonné: The decoration for the ceiling of the Paris Opera by Chagall was commissioned by Andr Malraux, then the Cabinet Minister in charge of the Cultural Affairs. The artist hesitated for a long time before finally accepting the assignment. When he went to work, he started by executing a number of small sketches before he created two large dummies, which he submitted to Andr Malraux so that he could select one. Thus once again Chagall demonstrated the humility and integrity which were characteristic of the man and a hallmark of all the work which he undertookÉ. Chagall worked from January to July, 1964, to complete this painting. The opening ceremony for the new ceiling of the Opera was arranged under the supervision of Andr Malraux and took place on the evening of September 23, 1964. The entire corps de ballet participated in the event and there was a performance of Daphnis and Chloe by Maurice Ravel, with sets and costumes by Marc Chagall. To the strains Jupiter Symphony of Mozart the ceiling was illuminated for the first time, revealing this exceptional work to the admirers of the Master.
Printed on Arches wove paper and numbered from the edition of 200 in pencil in the lower right (aside from 25 artist's proofs). Hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right with the inscription: Aprs Marc Chagall CH. Sorrier Gravé in the lower left.
Catalogue Raisonné & COA: Chagall Romeo and Juliette (Romeo and Juliet), 1964, is fully documented and referenced in the below catalogue raisonnés and texts.
1. Sorlier, Charles. Chagall Posters, Listed and illustrated as catalogue raisonn no. CS 96.
2. A Certificate of Authenticity will accompany this work.
About the Framing: This work is framed to museum-grade, conservation standards, presented in a champagne silver moulding, cream linen liner and matching fillet and optical grade non-reflective Plexiglas.
6 July 1887 - 28 March 1985
Marc Chagall was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as the quintessential Jewish artist of the twentieth century (though Chagall saw his work as not the dream of one people but of all humanity). According to art historian Michael J. Lewis, Chagall was considered to be the last survivor of the first generation of European modernist's. For decades, he had also been respected as the world's preeminent Jewish artist. Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opra.
Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's Golden Age in Paris, where he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism. Yet throughout these phases of his style he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk. When Matisse dies, Pablo Picasso remarked in the 1950s, Chagall will be the only painter left who understands what color really is.
Provenance: Elliott Gallery, New Orleans
Dimensions: 25" x 39"
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