La Circoncision (The Circumcision), 1956
By Marc Chagall
Etching •
Signed in plate •
29.5cm
x
24.0cm
SKU: MC-29-6-sp
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Chagall was born in Vitebsk, Russia in 1887. After studying in St Petersburg he went to Paris where he befriended the avant-garde circle of artists. In 1917 he returned to his native Vitebsk where he was made Director and Commissar of Fine Art. However, his fantasy-based work irked the conservative authorities so he left for Moscow to design for the new Jewish Theatre.
Returning to Paris in 1923 he met the art-dealer Vollard for whom he illustrated Gogol’s Dead Souls and the Fables of La Fontaine. Between 1941-47 he moved between occupied France and the USA, eventually settling near Nice. Chagall was a prolific artist, his work reminiscent of Jewish life, bible stories and of the folklore from his early years in Russia. He died in 1985.
Returning to Paris in 1923 he met the art-dealer Vollard for whom he illustrated Gogol’s Dead Souls and the Fables of La Fontaine. Between 1941-47 he moved between occupied France and the USA, eventually settling near Nice. Chagall was a prolific artist, his work reminiscent of Jewish life, bible stories and of the folklore from his early years in Russia. He died in 1985.
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About the work
About the Work
Genesis, XVII, 10.
This etching is from Chagall’s sublime Bible series. Almost 10 years in the making, and comprising over 100 etchings, it was the third of Chagall’s etching suites to be commissioned by the publisher Ambroise Vollard. Chagall’s Jewish identity had always informed his work; in this major suite, begun in 1930, it was to take centre stage.
Embarking on the project during a time of economic uncertainty, Chagall travelled to Palestine in 1931 for inspiration and worked on the plates throughout the 1930s, even as anti-Semitic violence and the rise of the Nazis threatened its existence. By January 1934, a major blow to the project came when Vollard suspended his financial support as he weathered the Depression, but Chagall continued unabated. The first 66 plates were completed by 1939, with the latter 39 already begun; but after Vollard’s untimely death and the advent of WWII, the project was postponed.
It would not be taken up again until 1952, when Chagall returned to the 39 unfinished plates. By 1956 the suite was complete, and a new publisher was found in Tériade. The final 105 etchings, characterised by an exquisite interweaving of lines hatched, scratched, and scored, are thought to be Chagall’s greatest and most personal work as a printmaker. ‘If we had nothing of Chagall but his bible,’ wrote Meyer Schapiro, writer and close friend, ‘he would be for us a great modern artist.’
This etching is from Chagall’s sublime Bible series. Almost 10 years in the making, and comprising over 100 etchings, it was the third of Chagall’s etching suites to be commissioned by the publisher Ambroise Vollard. Chagall’s Jewish identity had always informed his work; in this major suite, begun in 1930, it was to take centre stage.
Embarking on the project during a time of economic uncertainty, Chagall travelled to Palestine in 1931 for inspiration and worked on the plates throughout the 1930s, even as anti-Semitic violence and the rise of the Nazis threatened its existence. By January 1934, a major blow to the project came when Vollard suspended his financial support as he weathered the Depression, but Chagall continued unabated. The first 66 plates were completed by 1939, with the latter 39 already begun; but after Vollard’s untimely death and the advent of WWII, the project was postponed.
It would not be taken up again until 1952, when Chagall returned to the 39 unfinished plates. By 1956 the suite was complete, and a new publisher was found in Tériade. The final 105 etchings, characterised by an exquisite interweaving of lines hatched, scratched, and scored, are thought to be Chagall’s greatest and most personal work as a printmaker. ‘If we had nothing of Chagall but his bible,’ wrote Meyer Schapiro, writer and close friend, ‘he would be for us a great modern artist.’
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