Original lithograph, signed in pencil by the artist,
realized for the book "Chagall" by Jacques Lassaigne.
Size 15.17 x
22.46 inches / 38.5 x 57 cm
Lithograph in colors on
Arches
Publisher:
Maeght
Signed and
numbered in pencil by the artist at lower right
Edition Number: 9/90
Catalogue Raisonné: 197Author:
Mourlot
Sales Price C$6,900
A woman with flowing hair, on her
side, plays a conical pipe with the characteristic beak of a
duct-flute; a window/labium is hinted at; three finger-holes are
visible; and the thumb of the uppermost hand seems well angled for
recorder . A cello floats above her, and above that a bird. In the
distance are some houses.Recorder Iconography
The Pied Piper of Hamelin (German:
Rattenfänger von Hameln)
is the subject of a legend concerning the departure or death of a
great many children from the town of
Hamelin (Hameln),
Lower Saxony, Germany, in the
Middle Ages. The earliest references describe a piper, dressed
in multicolored clothing, leading the children away from the town
never to return. In the 16th
century the story was expanded into a full narrative, in which the
piper is a rat-catcher hired by the town to lure rats away
with his magic pipe. When the citizenry refuses to pay for this
service, he retaliates by turning his magic on their children,
leading them away as he had the rats. This version of the story
spread as a fairy tale. This version has also appeared in the
writings of, among others,
Johann Wolfgang von Goethe, the
Brothers Grimm and
Robert Browning.
The story may reflect
a historical event in which Hamelin lost its children. Theories
have been proposed suggesting that the Pied Piper is a symbol of
the children's death by plague or catastrophe. Other theories
liken him to figures like
Nicholas of Cologne, who is said to have lured away a great
number of children on a disastrous
Children's Crusade. A recent theory ties the departure of
Hamelin's children to the
Ostsiedlung, in which a number of Germans left their homes to
colonize Eastern Europe. It is also a story about paying those who
are due.
Wikipedia
The auditory overtone of this MARC CHAGALL print is
made immediately apparent by its title and imagery. The formal
composition allows for a very near foreground as well as a
background, with the represented activity taking place solely in
the foreground. The resulting implication is a continuity of this
activity occurring within the implied distance of the composition.
Furthermore, the separation of space enables the viewer to
delegate locality to various aspects of the work, such as the
figure at lower right, which would otherwise seem arbitrarily
enmeshed. The fiddle, ornithological creature, village, and
reveler are all commonly used imagery in Chagall’s work, normally
seen in tandem, as they are here. artnet.com
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