Figure painting

Figure painting
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He's adamant throughout his career that his work is not political and does not speak to
political events, but 'The White Crucifixion' absolutely is a reaction to Kristallnacht and the fact the people are not paying attention to what is going on in Germany," said Miranda Hofelt, a Ph.D. student at the University of Chicago who will speak Thursday on Chagall for the Fine Seascape oil painting Society of Peoria. "If you look at the symbolism that is used in the iconography of that painting, he very much says, 'Christ was a Jew.' You have this attempt to show that all peoples are interconnected and that Christians and Jews are part of one entity and one community. Again, he's this kind of unifier." figure painting as unifier, as reconciler, as mediator - this is part of the fascination of Chagall, the man from the margins, culturally and geographically. Born in 1887 in Vitebsk in far western Russia near the Polish border, Chagall grew up singing in the synagogue, reading the Bible and absorbing the ideas of the Hasidism, a Jewish sectarian movement that stressed feeling and mysticism instead of what it saw as arid rationality.

"The core belief in Hasidic Judaism is that it is only through joy and celebration that you can ignite the spark within you that links you to God, that enables you to have a connection to both God and your community," Hofelt said. "That celebratory spirit, that search for joy, for wonderment, is the core element of Chagall's work. The central question for Chagall is, 'How do I visualize joy and love?' "Hence the exuberance of so much of Chagall's work, where lyricism replaces conventional, visual logic and where musicians, lovers, animal oil painting and other objects and figures float, apparently at random. Yet, Chagall always maintained that his work was the opposite of fanciful. "I am against the terms 'fantasy' and 'symbolism,' " he wrote. "Our whole inner world is reality - perhaps even more real than the apparent world."Exuberance and joy are capacious and embracing. When Chagall moved to France and became part of the fabled School of Paris in 1910, he naturally fell into the role of a synthesizer, receiving group painting from the two rival artistic camps of the day: Henri Matisse and the Fauve movement on one side, Pablo Picasso and the Cubists on the other.

Chagall's ability to mix, match and come up with something new - as well as his Jewishness - put him at odds with those who favored "pure" French Nude painting. Today, Chagall's cosmopolitan, joyful openness to all things makes him a 20th century artist worth revisiting and contemplating once more."I'm fascinated with this idea of cross-cultural exchange and how this really fosters incredibly human Impression painting," Hofelt said. "Chagall is part of that. He is a person who leaves Bylorussia, who lives in Paris, who lives also in the United States for a while, who has an incredible community of friends who are from all different cultures - and he kind of Birds painting that together in his artwork. He takes a piece of everything, and creates these incredibly hopeful statements about humanity."