Aziz Art December 2018
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art ,tony cragg ,massoud arabshahi
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art ,tony cragg ,massoud arabshahi
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
AZIZ ART<br />
<strong>December</strong> <strong>2018</strong><br />
Saloua Raouda Choucair<br />
Oscar M. Domínguez<br />
Remedios Varo Uranga<br />
Qahveh Khanehei Painting<br />
Marc Chagall
1-Saloua Raouda<br />
Choucair<br />
5-Oscar M. Domínguez<br />
7-Remedios Varo<br />
Uranga<br />
13-Qahveh Khanehei<br />
Painting<br />
17-Marc Chagall<br />
Director: <strong>Aziz</strong> Anzabi<br />
Editor : Nafiseh Yaghoubi<br />
Translator : Asra Yaghoubi<br />
Research: Zohreh Nazari<br />
http://www.aziz-anzabi.com
Saloua Raouda Choucair<br />
June 24, 1916 – January 26, 2017<br />
was a Lebanese painter and<br />
sculptor.<br />
She is said to have been the first<br />
abstract artist in Lebanon though<br />
she sold nothing there until 1962.<br />
Life and work<br />
Born in 1916 in Beirut, Choucair<br />
started painting in the studios of<br />
Lebanese painters Moustafa<br />
Farroukh (1935) and Omar Onsi<br />
(1942).Her exhibition in 1947<br />
at the Arab Cultural Gallery in<br />
Beirut is considered to have been<br />
the Arab world's first abstract<br />
painting exhibition. In 1948 she<br />
left<br />
Lebanon and went to Paris,<br />
where she studied at the École<br />
nationale supérieure des Beaux-<br />
<strong>Art</strong>s and attended Fernand Léger's<br />
studio. In 1950, she was one of the<br />
first Arab artists to participate in<br />
the Salon des Réalités Nouvelles in<br />
Paris and had in 1951 a solo<br />
exhibition at Colette Allendy's<br />
gallery, which<br />
was better received in Paris than<br />
in Beirut.<br />
In 1959 she began to concentrate<br />
on sculpture, which became her<br />
main preoccupation in 1962. In<br />
1963, she was awarded the<br />
National Council of Tourism Prize<br />
for the execution of a stone<br />
sculpture for a public site in Beirut.<br />
In 1974, the Lebanese <strong>Art</strong>ists<br />
Association sponsored an honorary<br />
retrospective exhibition of her work<br />
at the National Council of Tourism<br />
in Beirut.In 1985, she won an<br />
appreciation prize from the General<br />
Union of Arab Painters. In 1988, she<br />
was awarded a medal by the<br />
Lebanese government.A<br />
retrospective exhibition organized<br />
by Saleh Barakat was presented at<br />
the Beirut Exhibition Center in<br />
2011.<br />
Choucair's work has been<br />
considered as one of the best<br />
examples of the spirit of<br />
abstraction characteristic of Arabic<br />
visual art, completely disconnected<br />
from the observation of nature and<br />
inspired by Arabic geometric art.<br />
Choucair recently received a<br />
prestigious honorary doctorate<br />
from the American University of<br />
Beirut (May 2014.<br />
Her artwork "Poem" is on loan to<br />
Louvres Abu Dhabi.<br />
1
She turned 100 in June 2016.She died on January 26, 2017.Her older<br />
sister, women's rights leader Anissa Rawda Najjar, lived almost 103<br />
years.<br />
Raouda Choucair's 102nd birthday.<br />
Solo exhibitions<br />
"Saloua Raouda Choucair: The Meaning of One, The Meaning of the<br />
Multiple", Mathaf: Arab Museum of Modern <strong>Art</strong>, Doha, 2015, curated<br />
by Laura Barlow.<br />
Noble Forms, Salwa Raouda Choucair, Maqam <strong>Art</strong> Gallery, Beirut, 2010<br />
Retrospective. Salwa Raouda Choucair, Beirut Exhibition Center, 2011<br />
Saloua Raouda Choucair, Tate Modern, 2013<br />
Group exhibitions<br />
The Road to Peace, Beirut <strong>Art</strong> Center, 2009<br />
<strong>Art</strong> from Lebanon, Beirut Exhibition Center, 2012
Oscar M. Domínguez<br />
(January 3, 1906 – <strong>December</strong> 31,<br />
1957) was a Spanish surrealist<br />
painter. Born in San Cristóbal de La<br />
Laguna on the island of Tenerife, on<br />
the Canary Islands Spain,<br />
Domínguez spent his youth with his<br />
grandmother in Tacoronte and<br />
devoted himself to painting at a<br />
young age after suffering a serious<br />
illness which affected his growth<br />
and caused a progressive<br />
deformation of his facial bone<br />
frame and limbs.<br />
He went to Paris at 21 where he<br />
first worked for his father in the<br />
central market of Les Halles, and<br />
spent his nights diving in cabarets.<br />
He then frequented some art<br />
schools, and visited galleries and<br />
museums.<br />
In 1933 Domínguez met André<br />
Breton, a theoretician of<br />
Surrealism, and Paul Éluard, known<br />
as the poet of this movement, and<br />
took part a year later in the<br />
Surrealist exhibition held in<br />
Copenhagen and those of London<br />
and Tenerife in 1936. He took up<br />
the Russian-invented technique of<br />
decalcomania in 1936, using<br />
gouache spread thinly on a sheet of<br />
paper or other surface (glass has<br />
been used), which is then pressed<br />
onto another surface such as a<br />
canvas.<br />
Domínguez was rapidly attracted by<br />
avant-garde painters, notably Yves<br />
Tanguy and Pablo Picasso, whose<br />
influences were visible in his first<br />
works. At 25 he painted a selfportrait<br />
full of premonition as he His 1937 oil painting The Infernal<br />
showed himself with a deformed Machine sold for 2 770 000 FF (US $<br />
hand and with the veins of his arm 404,375) on June 8, 2000 at<br />
cut. He chose to kill himself 27 Drouot-Montaigne in Paris.<br />
5<br />
years later by cutting his veins.
His 1933 oil painting Roma's portrait sold for 902,500 GBP<br />
(US $ 1,469,270) on Feb. 4th. 2014 at CHRISTIE'S in London.<br />
In 1952 he started an affair with Marie-Laure de Noailles, who called<br />
him "poochie".<br />
Domínguez committed suicide <strong>December</strong> 31, 1957, by slitting his wrists<br />
in the bath. Marie-Laure arranged to have him interred in the<br />
Bischoffsheim family mausoleum in the Montparnasse cemetery
Remedios Varo Uranga<br />
<strong>December</strong> 16, 1908 – October 8,<br />
1963<br />
was a Spanish-Mexican parasurrealist<br />
painter and<br />
anarchist.<br />
She was born María de los<br />
Remedios Alicia Rodrigo Varo y<br />
Uranga in Anglès, a small town in<br />
the province of Girona, Spain in<br />
1908.[1] Her birth helped her<br />
mother get over the death of<br />
another daughter, which is the<br />
reason behind the name. In 1924<br />
she studied at the Real Academia<br />
de Bellas <strong>Art</strong>es de San Fernando,<br />
Madrid. During the Spanish Civil<br />
War she fled to Paris where she<br />
was greatly influenced by the<br />
surrealist movement.<br />
She met her second husband (after<br />
her death it was discovered that<br />
she had never divorced her first<br />
husband, painter Gerardo<br />
Lizarraga), the French surrealist<br />
poet Benjamin Péret, in Barcelona.<br />
There she was a member of the art<br />
group Logicophobiste.Due to<br />
her Republican ties, her 1937<br />
move to Paris with Péret ensured<br />
that she would never be able to<br />
return to Franco's Spain. She was<br />
forced into exile from Paris during<br />
the German occupation of<br />
France and moved<br />
to Mexico City at the end of<br />
1941. She died at the height of her<br />
career from a heart attack in<br />
Mexico City in 1963<br />
7
Early life<br />
Varo’s father,<br />
Rodrigo Varo y Zajalvo,<br />
was an intellectual man who<br />
had a strong influence on his<br />
daughter’s artistic development.<br />
Varo would copy the blueprints he<br />
brought home from his job in<br />
construction and he helped her<br />
further develop her technical<br />
drawing abilities.<br />
He encouraged independent<br />
thought and supplemented her<br />
education with science and<br />
adventure books, notably the<br />
novels of Alexandre Dumas, Jules<br />
Verne, and Edgar Allan Poe. As she<br />
grew older he provided her with<br />
text on mysticism and philosophy.<br />
Varo’s mother, Ignacia Uranga<br />
Bergareche,<br />
was born to Basque parents in<br />
Argentina. She was a devout<br />
Catholic and commended herself<br />
to the patron saint of Anglès, the<br />
Virgin of Los Remedios, promising<br />
to name her first<br />
daughter after the saint.<br />
Her father was a hydraulic engineer<br />
and the family traveled the Iberian<br />
Peninsula and into North Africa. To<br />
keep Remedios busy during these<br />
long trips, her father had her copy<br />
the technical drawings of his work<br />
with their straight lines, radii and<br />
perspectives,<br />
which she reproduced faithfully. As<br />
a child she read much with favorite<br />
authors including Jules Verne,<br />
Edgar Allan Poe and Alexandre<br />
Dumas. She also read books about<br />
oriental philosophy and mysticism.<br />
Those first few years of her life left<br />
an impression on her that would<br />
later show up in motifs like<br />
machinery, furnishing, artifacts, and<br />
Romanesque and Gothic<br />
architecture unique to Anglès.
Varo was given the basic education<br />
deemed proper for young ladies<br />
of a good upbringing at a convent<br />
school - an experience that<br />
fostered her rebellious tendencies.<br />
Varo took a critical view of religion<br />
and rejected the religious ideology<br />
of her childhood education and<br />
instead clung to the liberal and<br />
universalist ideas that her father<br />
instilled in her.<br />
Formative years<br />
The very first works of Varo's, a<br />
self-portrait and several<br />
portraits of family members, date<br />
to 1923 when she was studying<br />
for a baccalaureate<br />
at the School of <strong>Art</strong>s and Crafts.<br />
In 1924 (age 15) she enrolled in<br />
the San Fernando Fine <strong>Art</strong>s<br />
Academy in Madrid, the alma<br />
mater of Salvador Dalí and other<br />
renowned artists. Varo got her<br />
diploma as a drawing teacher in<br />
1930.[ At school, surrealistic<br />
elements were already apparent in<br />
her work, as it had arrived to Spain<br />
from France and she took an early<br />
interest in it. While in Madrid, Varo<br />
had her initial introduction to<br />
Surrealism through lectures,<br />
exhibitions, films and theater. She<br />
was a regular visitor to the Prado<br />
Museum and took particular<br />
interest in the paintings of<br />
Hieronymus Bosch, most notably<br />
The Garden of Earthly Delights.<br />
In 1930 she married a young<br />
painter named Gerardo Lizárraga.<br />
The couple left Spain for Paris, both<br />
to escape the rising political<br />
tensions as well as to be nearer to<br />
where much of Europe’s art scene<br />
was.
Qahveh Khanehei Painting<br />
(Tea House style of painting)<br />
oil painting on canvas, Qajar<br />
period.<br />
Q ahveh Khanehei painting is an<br />
Iranian painting style combined<br />
with European techniques (oil and<br />
color on wall and convass). It was<br />
about eighty years ago that this<br />
method was formed among<br />
laypeople. The characteristic<br />
of this art is its popularity and<br />
distance from court arts. Unknown<br />
artists who had some experience<br />
in painting on tiles, were<br />
influenced by the atmosphere and<br />
ambience of Qahveh-Khanehs ,<br />
along with Shahnameh-Khani<br />
(reading verses from Shahnameh)<br />
endeavoured to create simple and<br />
beatiful views<br />
on the walls of Qahveh Khaneh<br />
and on cloths.<br />
Though they did not have any<br />
academic instructions, these artists<br />
succeeded to occupy a place in<br />
Iranian artistic history for<br />
themselves. For its presence in<br />
narrations and Shamayel gardani<br />
(carrying the icons) Qahveh<br />
Khanehei painting may be regarded<br />
a part of Iranian painting arts. And<br />
on other hand due to its distance<br />
from painting features it may be<br />
considered among visual arts. But,<br />
prior to illustration of this<br />
traditional and true Iranian art, we<br />
should acquire knowledge about<br />
Qahneh Khanehs . These places<br />
with their old history have been the<br />
keeper of our old traditions,<br />
thoughts and tastes. In<br />
QahvehKhanehs the narrators of<br />
Shahnameh told about natioanl<br />
stories with much enthusiasm.<br />
Therefore, in the course of long<br />
centuries, QahvehKhanehs took<br />
many characteristics, which are<br />
important for their extensive<br />
contact with people. In fact<br />
QahvehKhanehs of old days played<br />
the role of today mass media. This<br />
role had its due rules and<br />
traditions, one of which being “<br />
QahvehKhane painting”.<br />
13
In this style of painting, one can<br />
easily detect some elements of<br />
Miniature painting. As narration of<br />
stories in its climax incline towards<br />
poetry, the paintings of<br />
QahvehKhaneh some times tend to<br />
delicateness of miniature.<br />
These are not much records<br />
concerning the history of this<br />
national art, because in its present<br />
form, it has been current since<br />
eighty years ago. But remaining<br />
paintings and plaster moulding<br />
indicate that some kind of this art<br />
existed in 18th and 19th centuries.<br />
For example the paintings on tiles<br />
of Chehel Sotun Palace in Esphahan<br />
have been worked under Shah<br />
Abbass II and Nader, of course most<br />
of theme are Shabih Sazi (dramatic)<br />
and they are inspired by feasts,<br />
while Qahveh Khanehei painting is<br />
purely imaginary and the painter<br />
does not have any model and what<br />
he draws is merely that which goes<br />
in his mind.<br />
Observing the present evidences he<br />
draws an imaginary picture of, for<br />
example, Karbala desert, Ashura<br />
epic, and Resurrection day and<br />
some epical pictures which indicate<br />
the imagination and enthusiasm of<br />
painting.
Qahveh Khanehei painting which<br />
is called Imaginary painting by<br />
many people, is an art with its<br />
recognized principles. Its main<br />
feature is retaining the<br />
genuinenes of portraits, in a way<br />
that even in dealing scenes of<br />
feasts or epics, the painter makes<br />
his outmost effort to paint the<br />
faces. This feature is due to the<br />
fact that “ state” and “ motion”<br />
are limited in this type of painting.<br />
In each painting the faces convey<br />
the subject intended by painter to<br />
onlookers. The painter of this style<br />
is an earnest narrator who<br />
consciously or unconsciously<br />
represents the protagonists or<br />
antagonists with due emotions<br />
towards them. For example in<br />
Rostam and Sohrab, Rostam’s face<br />
occupies a large place in the<br />
painting and this shows the<br />
painter’s love of Rostam. In a<br />
religious painting the face of<br />
enemies and vicious people are as<br />
ugly as possible.<br />
In Qahveh Khanehei painting there<br />
is no limitation of subject and the<br />
painter’s hands are free to draw<br />
whatever he desires. Due to this<br />
reason, no painting could be ever<br />
considered a criterion for other<br />
works. In general one may devide<br />
the subjects into three groups:<br />
religious, epic, feast and amorous<br />
paintings.
Marc Chagall<br />
6 July 1887 – 28 March 1985)<br />
was a Russian-French artist.21 <strong>Art</strong><br />
critic Robert Hughes referred to<br />
Chagall as "the quintessential<br />
Jewish artist of the twentieth<br />
century" (though Chagall saw his<br />
work as "not the dream of one<br />
people but of all humanity"). An<br />
early modernist,<br />
he was associated with several<br />
major artistic styles and created<br />
works in virtually every artistic<br />
medium, including painting, book<br />
illustrations, stained glass, stage<br />
sets, ceramic, tapestries and fine<br />
art prints.<br />
According to art historian<br />
Michael J. Lewis, Chagall was<br />
considered to be "the last survivor<br />
of the first generation of European<br />
modernists". For decades, he "had<br />
also been respected as the world's<br />
preeminent Jewish artist". Using<br />
the medium of stained glass, he<br />
produced windows for the<br />
cathedrals of Reims and Metz,<br />
windows for the UN, and the<br />
Jerusalem Windows in Israel. He<br />
also did large-scale paintings,<br />
including part of the ceiling of the<br />
Paris Opéra.<br />
Before World War I, he traveled<br />
between St. Petersburg, Paris, and<br />
Berlin. During this period he<br />
created his own mixture and style<br />
of modern art based on his idea of<br />
Eastern European Jewish folk<br />
culture. He spent the wartime years<br />
in Soviet Belarus, becoming one of<br />
the country's most distinguished<br />
artists and a member of the<br />
modernist avant-garde, founding<br />
the Vitebsk <strong>Art</strong>s College before<br />
leaving again for Paris in 1922.<br />
He had two basic reputations,<br />
writes Lewis: as a pioneer of<br />
modernism and as a major Jewish<br />
artist. He experienced modernism's<br />
"golden age" in Paris, where "he<br />
synthesized the art forms of<br />
Cubism, Symbolism, and Fauvism,<br />
and the influence of Fauvism gave<br />
rise to Surrealism". Yet throughout<br />
these phases of his style "he<br />
remained most emphatically a<br />
Jewish artist, whose work was one<br />
long dreamy reverie of life in his<br />
native village of Vitebsk. "When<br />
Matisse dies," Pablo Picasso<br />
remarked in the 1950s, "Chagall will<br />
be the only painter left who<br />
understands what colour really is".<br />
17
Early life<br />
Chagall's Parents<br />
Marc Chagall was born Moishe<br />
Segal in a Lithuanian Jewish<br />
family in Liozna,near the city of<br />
Vitebsk (Belarus, then part of the<br />
Russian Empire) in 1887. At the<br />
time of his birth, Vitebsk's<br />
population was about 66,000,<br />
with half the population being<br />
Jewish. A picturesque city of<br />
churches and synagogues, it was<br />
called "Russian Toledo", after a<br />
cosmopolitan city of the former<br />
Spanish Empire. As the city was<br />
built mostly of wood, little of it<br />
survived years of occupation and<br />
destruction during World War II.<br />
Chagall was the eldest of nine<br />
children. The family name, Shagal,<br />
is a variant of the name Segal,<br />
which in a Jewish community was<br />
usually borne by a Levitic family.<br />
His father, Khatskl (Zachar) Shagal,<br />
was employed by a herring<br />
merchant, and his mother, Feige-<br />
Ite, sold groceries from their<br />
home. His father worked hard,<br />
carrying heavy barrels but earning<br />
only 20 roubles each month (the<br />
average wages across the Russian<br />
Empire being 13 roubles a month).<br />
Chagall would later include fish<br />
motifs "out of respect for his<br />
father", writes Chagall biographer,<br />
Jacob Baal-Teshuva. Chagall wrote<br />
of these early years:<br />
Day after day, winter and summer,<br />
at six o'clock in the morning, my<br />
father got up and went off to the<br />
synagogue. There he said his usual<br />
prayer for some dead man or other.<br />
On his return he made ready the<br />
samovar, drank some tea and went<br />
to work. Hellish work, the work of a<br />
galley-slave. Why try to hide it?<br />
How tell about it? No word will<br />
ever ease my father's lot... There<br />
was always plenty of butter and<br />
cheese on our table. Buttered<br />
bread, like an eternal symbol, was<br />
never out of my childish hands.
One of the main sources of<br />
income of the Jewish population<br />
of the town was from the<br />
manufacture<br />
of clothing that was sold<br />
throughout Russia.<br />
had been a center of that culture<br />
dating from the 1730s with its<br />
teachings derived from the<br />
Kabbalah. Chagall scholar Susan<br />
Goodman describes the links and<br />
sources of his art to his early home:<br />
They also made furniture and<br />
various agricultural tools.<br />
From the late 18th century to the<br />
First World War, the Russian<br />
government confined Jews to<br />
living within the Pale of<br />
Settlement, which included<br />
modern Ukraine, Belarus, Poland,<br />
Lithuania, and Latvia, almost<br />
exactly corresponding to the<br />
territory of the Polish-Lithuanian<br />
Commonwealth recently taken<br />
over by Imperial Russia. This<br />
caused the creation of Jewish<br />
market-villages (shtetls) through<br />
out today's Eastern Europe, with<br />
their own markets, schools,<br />
hospitals, and other community<br />
institutions.<br />
Chagall's art can be understood as<br />
the response to a situation that has<br />
long marked the history of Russian<br />
Jews. Though they were cultural<br />
innovators who made important<br />
contributions to the broader<br />
society, Jews were considered<br />
outsiders in a frequently hostile<br />
society... Chagall himself was born<br />
of a family steeped in religious life;<br />
his parents were observant Hasidic<br />
Jews who found spiritual<br />
satisfaction in a life defined by their<br />
faith and organized by prayer.<br />
Chagall was friends with Sholom<br />
Dovber Schneerson, and later with<br />
Menachem M. Schneerson.<br />
Most of what is known about<br />
Chagall's early life has come from<br />
his autobiography, My Life. In it, he<br />
described the major influence that<br />
the culture of Hasidic Judaism had<br />
on his life as an artist. Vitebsk itself
<strong>Art</strong> education<br />
Portrait of Chagall by<br />
Yehuda (Yuri) Pen, his first art<br />
teacher in Vitebsk<br />
In Russia at that time, Jewish<br />
children were not allowed to<br />
attend regular Russian schools or<br />
universities. Their movement<br />
within the city was also restricted.<br />
Chagall therefore received his<br />
primary education at the local<br />
Jewish religious school, where he<br />
studied Hebrew and the Bible. At<br />
the age of 13, his mother tried to<br />
enroll him in a Russian high<br />
school, and he recalled,<br />
"But in that school, they don't<br />
take Jews. Without a moment's<br />
hesitation, my courageous mother<br />
walks up to a professor." She<br />
offered the headmaster<br />
50 roubles to let him attend, which<br />
he accepted.<br />
A turning point of his artistic life<br />
came when he first noticed a fellow<br />
student drawing. Baal-Teshuva<br />
writes that for the young Chagall,<br />
watching someone draw "was like a<br />
vision, a revelation in black and<br />
white". Chagall would later say that<br />
there was no art of any kind in his<br />
family's home and the concept was<br />
totally alien to him. When Chagall<br />
asked the schoolmate how he<br />
learned to draw, his friend replied,<br />
"Go and find a book in the library,<br />
idiot, choose any picture you like,<br />
and just copy it". He soon began<br />
copying images from books and<br />
found the experience so rewarding<br />
he then decided he wanted to<br />
become an artist.
He eventually confided to his<br />
mother, "I want to be a painter",<br />
although she could not yet<br />
understand his sudden interest in<br />
art or why he would choose a<br />
vocation that "seemed so<br />
impractical", writes Goodman.<br />
The young Chagall explained,<br />
"There's a place in town; if I'm<br />
admitted and if I complete the<br />
course, I'll come out a regular<br />
artist. I'd be so happy!“<br />
It was 1906, and he had noticed<br />
the studio of Yehuda (Yuri) Pen, a<br />
realist artist who also operated a<br />
small drawing school in Vitebsk,<br />
which included the future artists<br />
El Lissitzky and Ossip Zadkine. Due<br />
to Chagall's youth and lack of<br />
income, Pen offered to teach him<br />
free of charge. However, after<br />
a few months at the school,<br />
Chagall realized that academic<br />
portrait painting did not suit his<br />
desires.<br />
<strong>Art</strong>istic inspiration<br />
Marc Chagall, 1911,<br />
Trois heures et demie (Le poète),<br />
Half-Past Three (The Poet)<br />
Halb vier Uhr, oil on canvas,<br />
195.9 x 144.8 cm, The Louise and<br />
Walter Arensberg Collection, 1950,<br />
Philadelphia<br />
Museum of <strong>Art</strong><br />
Marc Chagall, 1911, I and the<br />
Village, oil on canvas, 192.1 x 151.4<br />
cm, Museum of Modern <strong>Art</strong>, New<br />
York<br />
Marc Chagall, 1911-12, The<br />
Drunkard (Le saoul), 1912, oil on<br />
canvas. 85 x 115 cm. Private<br />
collection<br />
Marc Chagall, 1912, Calvary<br />
(Golgotha), oil on canvas, 174.6 x<br />
192.4 cm, Museum of Modern <strong>Art</strong>,<br />
New York. Alternative titles:<br />
Kreuzigung Bild 2 Christus<br />
gewidmet [Golgotha. Crucifixion.<br />
Dedicated to Christ]. Sold through<br />
Galerie Der Sturm (Herwarth<br />
Walden), Berlin to Bernhard<br />
Koehler (1849–1927), Berlin, 1913.<br />
Exhibited: Erster Deutscher<br />
Herbstsalon, Berlin, 1913<br />
Goodman notes that during this<br />
period in Russia, Jews had two<br />
basic alternatives for joining the art<br />
world: One was to "hide or deny<br />
one's Jewish roots". The other<br />
alternative—the one that Chagall<br />
chose—was "to cherish and<br />
publicly express one's Jewish roots"<br />
by integrating them into his art. For<br />
Chagall, this was also his means of<br />
"self-assertion and an expression of<br />
principle."
http://www.aziz-anzabi.com