16 March 2013
The image depicts a violinist on top of a house that represents the condition of the Jews in the world: an unstable life as that of the musician who has to play while balancing on a roof. The violinist is a recurring motif of Chagall and declares the charm that the artist suffered as a boy, as if to make a hero. From time to time is invested with different meanings in culture and traditional Jewish violinist played an important role on the occasion of births, marriages and funerals.
Chagall had an uncle, mother's brother, whose name was Neuch and played the violin. He was a member of a religious sect of Russian and Polish Jews, the sect of the Hasidim, who aspired to communion with God through the ecstasy induced by music and dance.
In this picture we see Uncle Neuch while playing and dancing over the rooftops of his village, Lyozno, dragging in its wake a figure surrounded by a halo of gold.
Although painted in Paris, the picture is linked to the works of Vitebsk in 1909, in which, as he says Chagall, he tended to see things in black, gray and white. But in areas dominated by black and white, Chagall has introduced a chromatic modulation that gives the painting a soft and warm light.
The small figure on the left of the painting, with three heads, is the representation of un'esteticità admiring and remember certain crowds of devotees around the saints in the old Byzantine paintings where the crowd in prayer you can see only the heads and the white of the eye .
1912-13
Coll. P. A. Regnault, Municipal Museum, Amsterdam, 187x158 cm
© All rights reserved
Chagall had an uncle, mother's brother, whose name was Neuch and played the violin. He was a member of a religious sect of Russian and Polish Jews, the sect of the Hasidim, who aspired to communion with God through the ecstasy induced by music and dance.
In this picture we see Uncle Neuch while playing and dancing over the rooftops of his village, Lyozno, dragging in its wake a figure surrounded by a halo of gold.
Although painted in Paris, the picture is linked to the works of Vitebsk in 1909, in which, as he says Chagall, he tended to see things in black, gray and white. But in areas dominated by black and white, Chagall has introduced a chromatic modulation that gives the painting a soft and warm light.
The small figure on the left of the painting, with three heads, is the representation of un'esteticità admiring and remember certain crowds of devotees around the saints in the old Byzantine paintings where the crowd in prayer you can see only the heads and the white of the eye .
1912-13
Coll. P. A. Regnault, Municipal Museum, Amsterdam, 187x158 cm
© All rights reserved
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