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Marc Chagall Lithograph, The mystical crucifixion, 1950

Marc CHAGALL Lithograph
"The mystical crucifixion, 1950"



One of the 2 lithographs published in 1950 (2nd edition) in the famous "Derriere Le Miroir" (DLM)
Signed and dated (1950)in the plate on lower right. Inscriptions at the back of the work
Engraver : Charles SORLIER
The 2 lithographs are officially referenced with n 49 in the catalogue raisonn "Chagall, the book of the books" of Charles SORLIER
This lithograph bears the normal central fold for original lithographs published on double pages
Dimensions : 56 x 38 cm (15" x 22")


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Marc Chagall (1887-1985 Russia-France)

More cultural and artistic informations about the painter

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Main works :

Les "violonistes", "La Vie", "Au-dessus de la Ville" et "La Marie"

Artistic movements :

Judaca and in his early stages the Neo-Primitivism.

Inspiration, influence :

The life in the Shteti (Jewish village in the Eastern Europe) which is one of its favourite subjects. He doesn't belong to any pictorial school, but he took elements which fed his painting (Fauvism, the Constructivists, the Cubists and the Great classics).

His contemporaries :

Marc Chagall didn't see frequently the other painters (faithful to himself, to his family, as well as to his child's dreams). His impact on his contemporaries is very dfficult to measure but it is impressive on the general public.

To keep in mind :

From russian pogroms to the heights of Saint-Paul de Vence, Chagall knew the journey, the loss of his painting works, the loss of the woman he loved : Bella. And he always knew how to begin again, reinventing his world.

To go further :

It is necessary to discover the Stained-glass windows which he realized (those of the Cathedral of Reims or those of the Museum Chagall in Nice). It is also necessary to admire the ceiling of the Garnier Opera and to understand that Chagall is a painter narrator, a man who told that we all live during a life, the happiness and the misfortune, the births and the bereavements, love and loss of love... And that he put all this in colors in a bright and universal allegory.






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