Chagall Lithographs 1974-1979 (Lithographs, Volume 5)

Chagall Lithographs 1974-1979 (Lithographs, Volume 5)

Marc Chagall, Charles Sorlier, Robert Marteau

Language: English

Pages: 260

ISBN: 0815000197

Format: PDF / Kindle (mobi) / ePub

translated from French by John Ottaway

spectacular full color plates of the complete catalogue of Chagall's lithographs between 1974 and 1979. it seems to be the first book representing Marc Chagall on the tracker.

This is an absolutely beautiful book, arranged with notes by Charles Sorlier--the engraver under Chagall's direction--and an introduction by Robert Marteau. I cannot recommend this enough. Unless you have seen this book, I would be almost certain it includes work you have never seen of Chagall.

selling for ~$200:

CHAGALL, Marc; SORLIER, Charles.
Chagall Lithographs 1974-1979. [Lithographs V] New York: Crown Publishers, Inc., [1984].

First American edition, printed in Italy.

Quarto. 250 pp., including 305 illustrations, 202 in color and 103 in black and white

it goes without saying--any other volumes would be jaw-dropping

Critical Vehicles: Writings, Projects, Interviews

Byzantine Art

Canaletto (Temporis Collection)

Harold Pinter on International Stages

Art and Pornography: Philosophical Essays

The Aesthetics of Grace: Philosophy, Art, and Nature (American University Studies)













he himself nourishes as he passes, a vase broken and re-assembled without intermission, at the same time a parabolic mirror by which the universe was pleased to condense itself into images and divine dewdrops. In these high circles, the gods convene, tying the cords of the instrument through which music and harmony are expressed. Through in us and fertilises our homes so that they its divine hosts, sanctified for ever, this land lives might not be exiled. For we are drawn with all

Chagall sings out all the sonorities of Babal. And he amuses himself. He pours out to the Muse the gifts she provides. Reunited, his lithographic leaves would form upon a genealogical tree the most astonishing foliage traversed by music composed of waves of color. Music, color, form remain as coherent in the print as in his painted works. For he still illumines the land of his soul with the lamps of those who, throughout the ages and from his earliest youth, enlightened Cezanne, the

responded to that long memory of man in stone. It suited him, I believe, to handle material issued directly from the earth, an opaque material in which was to be born, as in a mirror, an image of the world to be gathered up in paper and reproduced. Upon its illustration, each proof bears a harvest to be greeted with surprise and wonder. Chagall was not simply captured by this game but was enraptured with it, renewing on this prism drawn out of the wall of the antique cave, the place of humanity's

theme of the Four Seasons for National Square in the city of Chicago (U.S.A.). It forms a parallelepiped twentyfive meters long, four The painter meters wide and five meters high. created and engraved a poster for the inauguration of this w ork. This lithograph gives a very precise idea of how the artist refined his work. After having executed the black composition on zinc, Chagall engraved the colors of a trials. first version. Several days of work were necessary to accomplish the

paupicre ct verse sur scs ycux un ancanti, Athene' paisible ' <&d ri-l'Aurorc, quittant apportait b couchc du glorieux Tithon, h lumicrc aux dieux ct aux mortels, lorsquc les dicux se placcnt sur leurs trones d'or ; au milieu deux on du distinguait cclui dont tonnerrc ebranlc lc pouvoir est souvcrain, Zeus, qui emuc de compassion pour le sort dTJlyssc, toujours present a sa memoire, ct quelle voit encore rctcnu dans le palais dune les hautcs nuccs. Athene, nymphe, leur retrace

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