Aziz art Augaust 2015.pdf

He eventually confided to hismother, "I want to be a painter",although she could not yetunderstand his sudden interest inart or why he would choose avocation that "seemed soimpractical", writes Goodman. Theyoung Chagall explained, "There's aplace in town; if I'm admitted and ifI complete the course, I'll come outa regular artist. I'd be so happy!" Itwas 1906, and he had noticed thestudio of Yehuda (Yuri) Pen, a realistartist who also operated a smalldrawing school in Vitebsk, whichincluded the future artists ElLissitzky and Ossip Zadkine. Due toChagall's youth and lack of income,Pen offered to teach him free ofcharge. However, after a fewmonths at the school, Chagallrealized that academic portraitpainting did not suit his desires.Artistic inspirationMarc Chagall, 1911,Trois heures et demie (Le poète),Half-Past Three (The Poet) Halb vierUhr, oil on canvas, 195.9 x 144.8cm, The Louise and WalterArensberg Collection, 1950,PhiladelphiaMuseum of ArtMarc Chagall, 1911, I and theVillage, oil on canvas, 192.1 x 151.4cm, Museum of Modern Art, NewYorkMarc Chagall, 1911-12, TheDrunkard (Le saoul), 1912, oil oncanvas. 85 x 115 cm. PrivatecollectionMarc Chagall, 1912, Calvary(Golgotha), oil on canvas, 174.6 x192.4 cm, Museum of Modern Art,New York. Alternative titles:Kreuzigung Bild 2 Christusgewidmet [Golgotha. Crucifixion.Dedicated to Christ]. Sold throughGalerie Der Sturm (HerwarthWalden), Berlin to BernhardKoehler (1849–1927), Berlin, 1913.Exhibited: Erster DeutscherHerbstsalon, Berlin, 1913Goodman notes that during thisperiod in Russia, Jews had twobasic alternatives for joining the artworld: One was to "hide or denyone's Jewish roots". The otheralternative—the one that Chagallchose—was "to cherish andpublicly express one's Jewish roots"by integrating them into his art. ForChagall, this was also his means of"self-assertion and an expression ofprinciple."