Marc Chagall - Rain (La Pluie) 1911

Rain (La Pluie), 1911. Oil and charcoal on canvas, 34 1/8 x 42 1/2 inches (86.7 x 108 cm). The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 76.2553.63. Marc Chagall © 2007 Artists Rights Society (ARS), New York/ADAGP, Paris

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More Works By Marc Chagall
Marc Chagall’s early work is characterized by a neo-primitive style derived primarily from Russian icons and folk art. When he moved from Russia to Paris in the summer of 1910, the artist took with him several of these paintings depicting the life and customs of his native Vitebsk. During the next year he reworked them and also painted new compositions with similar motifs, infused with nostalgia for his homeland, but now adapted according to techniques and concepts he acquired from exposure to current French art.
Nondescriptive, saturated color is used in Rain in combination with assertive areas of white and black to produce a highly ornamental and vivid surface. Chagall’s use of color was influenced by that of Henri Matisse and Robert Delaunay, whose work he saw almost immediately upon his arrival in Paris. The breaking up of some areas of the composition into shaded planes, for example the roof of the house and the left foreground, has its source in Cubism, though this device is handled somewhat randomly.
Lucy Flint

After Marc Chagall moved to Paris from Russia in 1910, his paintings quickly came to reflect the latest avant-garde styles. In Paris Through the Window, Chagall’s debt to the Orphic Cubism of his colleague Robert Delaunay is clear in the semitransparent overlapping planes of vivid color in the sky above the city. The Eiffel Tower, which appears in the cityscape, was also a frequent subject in Delaunay’s work. For both artists it served as a metaphor for Paris and perhaps modernity itself. Chagall’s parachutist might also refer to contemporary experience, since the first successful jump occurred in 1912. Other motifs suggest the artist’s native Vitebsk. This painting is an enlarged version of a window view in a self-portrait painted one year earlier, in which the artist contrasted his birthplace with Paris. The Janus figure in Paris Through the Window has been read as the artist looking at once westward to his new home in France and eastward to Russia. Chagall, however, refused literal interpretations of his paintings, and it is perhaps best to think of them as lyrical evocations, similar to the allusive plastic poetry of the artist’s friends Blaise Cendrars (who named this canvas) and Guillaume Apollinaire.
Years after Chagall painted The Soldier Drinks he stated that it developed from his memory of tsarist soldiers who were billeted with families during the 1904–05 Russo-Japanese war. The enlisted man in the picture, with his right thumb pointing out the window and his left index finger pointing to the cup, is similar to the two-faced man in Paris Through the Window in that both figuratively mediate between dual worlds—interior versus exterior space, past and present, the imaginary and the real. In paintings such as these it is clear that the artist preferred the life of the mind, memory, and magical Symbolism over realistic representation.
In Green Violinist Chagall evoked his homeland. The artist’s nostalgia for his own work was another impetus in creating this painting, which is based on earlier versions of the same subject. His cultural and religious legacy is illuminated by the figure of the violinist dancing in a rustic village. The Chabad Hasidim of Chagall’s childhood believed it possible to achieve communion with God through music and dance, and the fiddler was a vital presence in ceremonies and festivals.
Jennifer Blessing