Подпись "Chagall" внизу справа.
Подлинность работы подтверждена комитетом Марка Шагала.
Выставки:
Париж, Центр Жоржа Помпиду, Марк Шагал: Oeuvres sur Papier, 1984, № 31, илл. в каталоге стр. 70.
Нью-Йорк, Еврейский музей, Шагал и Библия, 1987.
Норфолк, Вирджиния, The Chrysler Museum, Proud Possessions: A Community Collects, 1992.
Литература:
Франц Мейер, Марк Шагал, Жизнь и творчество, Нью-Йорк, 1963, илл. стр. 152.
Центр Жоржа Помпиду, Марк Шагал: Oeuvres sur Papier (каталог выставки), Париж,
1984, № 31, илл. стр. 70.
Ine Gevers, Stedelijk Van Abbemuseum, Hommage à Apollinaire (каталог выставки),
1987, № 9, илл. стр. 24.

CATALOGUE NOTE

The present work relates to a monumental and groundbreaking work from Chagall's first Paris period, Homage à
Apollinaire, 1911-12 (see fig. 1). The ambitious amalgation of Cubism and Orphism informed by the artist's singular
imagination mark this subject as one of the most significant from Chagall's oeuvre. In the current study, Chagall
incorporates collage into the cubistic space - a deeply semiotic gesture that parallels the contemporaneous works of
Picasso and Braque.
Jacob Baal-Teshuva writes of the final version of this work, "In this strongly cubist painting, Chagall has developed his
own ideas for structural organisation of the canvas. The two central figures (the female holding an apple) are taken
from studies for Adam and Eve. A multitude of meanings can be read into this amazing work. It can be seen as a
symbolic representation of the Creation Story, the dial being the Clock of Eternity... Chagall links his admiration for
Cubism and Orphism with the Jewish mysticism embodied in Hasidism and the Cabbala" (Jacob Baal-Teshuva, Marc
Chagall, 1887-1985, Cologne, 1998, p. 47).
Franz Meyer writes of this work and another preparatory gouache, "The curious central motif of Homage à Apollinaire
- a couple fused up to the hips in a single body and separated only from there up - first appears in two small
gouaches. The Bible story of the creation of Eve may offer a clue to its interpretation. God drew Eve from the flank of
Adam, thus creating the two sexes. This dual-natured being stands under the Tree of Knowledge with apples in its


hands; nearby, the serpent rears its head. Thus, Chagall linked the Biblical motif of the division of the sexes with the
Fall of Man" (Franz Meyer, op. cit., p. 154).
The artist dedicates this work to Guillaume Apollinaire, the poet and Cubism enthusiast whom he met in 1911.
Apollinaire was immediately taken with Chagall's "supernatural" world, as he called it, and the two became close
friends. Immortalized in a seminal portrait by Picasso, Apollinaire was a vital proponent of the avant-garde (see fig. 2).

Fig. 1 Marc Chagall, Homage à Apollinaire, 1911-12, oil on canvas, Stedelijk Van Abbe Museum, Eindhoven
Fig. 2 Pablo Picasso, Portrait d'Apollinaire, 1912, pencil and ink wash on paper, Private Collection, Paris


Fig. 1
Pablo Picasso, Portrait d'Apollinaire, 1912, pencil and ink wash on
paper, Private Collection, Paris
Fig. 2
Marc Chagall, Homage Apollinaire, 1911-12, oil on canvas,
Stedelijk Van Abbe Museum, Eindhoven