On arriving at the Gare du Nord in Paris late in the summer of 1910, Chagall felt like a man emerging from a dark tunnel into the light of day. The traffic in the streets, the people, the colours, the bright lights; he was overwhelmed by the novelty of it all.
Like one driven on by Fate, I arrived in Paris. The words rose to my mouth from my very heart. They almost stifled me. I stammered. The words fought to get out, full of eagerness to shine with this light of Paris, to bejewel themselves with it.
In Paris I did not take lessons either at art schools or from private teachers. I found them in the town at every step, on every hand. They were the traders in the market, the waiters in the cafés, the concierges, the peasants, the workmen. About them played that amazing light that signifies liberty, a light that I have never seen anywhere else.
By 1952 Chagall was back in Paris anxious to give his colour lithographs still more movement and luminosity,
more opulence and radiance. In this endeavour he was able to count on the traditional craftsmanship of the Mourlot workshop, which at the time had no rival in the whole world. Chagall made the two well-known lithographs The Red Cock and The Brown Horse, which heralded in a new, more spontaneous technique. Also in 1952 Chagall made the first colour lithographs of the Paris series, in which the new colourfulness of his paintings overflows into his graphic works. |
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