Marc Chagall et Ambroise Vollard. Catalogue Complet des Gravures exécutées par Chagall a la Demande de Ambroise Vollard

Title

en_US Marc Chagall et Ambroise Vollard. Catalogue Complet des Gravures exécutées par Chagall a la Demande de Ambroise Vollard

Description

en_US This is a hardbound book (hard cover)

en_US This book has a dust jacket (book cover)

en_US Language note: French

en_US Charles Sorlier

Creator

en_US Chagall, Marc

Contributor

en_US Chagall, Marc

Date

2016-01-22T21:18:33Z

en_US 2015-01

en_US 1981

Date Available

2016-01-22T21:18:33Z

Date Issued

en_US 1981

Abstract

en_US Here is a complete visual catalogue for Les Ames Mortes, Fables de Fontaine, and La Bible. After long negotiations over a much more costly version of this book, I was happy to find it where I had never thought of looking, on Amazon. The book includes texts from Chagall, André Malraux, and Robert Marteau. The texts by the first two at the beginning of the book are each literally one paragraph long. Sorlier offers a longer essay on the interaction of the two men (13-20). Marteau writes the introduction to each of the three sections. Everything in this large-format book is done in black-and-white; even the dust-jacket is done black-and-white on a gray background. Marteau points out that the 1927 agreement between Vollard and Chagall for the fables was for black-and-white etchings. Marteau's view is arresting: Mais dans ce blanc et noir de l'eau-forte, toute la couleur des gouaches est contenue (75). Apparently Chagall would keep going over the original etchings to add layer after layer of subtlety. Vollard, through a friend, called Chagall back to Paris in 1923, and Chagall agreed then to do some 118 etchings for Les Ames Mortes. Apparently that book was not published until 1948 by Teriade. After finishing his work on Les Ames Mortes, Chagall proposed to Vollard that he do a book of etchings for La Fontaine's fables. That possibility apparently caused an uproar in Paris. Vollard knew what he wanted and had a sense that Chagall could provide it. Chagall did provide a hundred gouaches that Vollard found dazzling. But getting from gouache to copper etching proved difficult. Because of these difficulties, Chagall chose to do black-and-white etchings. Chagall delivered the last of the 100 plates in 1931, but they were not published until Teriade did it in 1952. With that, Chagall turned to La Bible. The illustrations for La Fontaine's fables here occur either one or four to a page..

Identifier

en_US 10511 (Access ID)

uri

http://hdl.handle.net/10504/75125

Language

en_US fre

Publisher

en_US Éditions Galerie Matignon

en_US Paris

Subject

en_US ND699.C5 S66 1981

en_US Secondary

en_US Title Page Scanned

Type

en_US Book, Whole