Cover image for Chagall
Bohm-Duchen, Monica.
Personal Author:
First edition.
Publication Information:
London : Phaidon Press, 1998.
Physical Description:
351 pages : illustrations (chiefly color) ; 22 cm.
Format :


Call Number
Material Type
Home Location
Item Holds
ND699 .C5 B64 1998 Adult Non-Fiction Non-Fiction Area
ND699 .C5 B64 1998 Adult Non-Fiction Non-Fiction Area

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In this lively and comprehensive book, Monica Bohm-Duchen examines Marc Chagall's prodigious output, not only in painting but also in book illustration, theatre design, stained glass and poetry. She follows Chagall from his Russian-Jewish childhood, through his encounter with the Parisian avant-garde and his activities in revolutionary Russia, to his later years in America and the South of France. This is the first ever survey to take full advantage of new material made available to the West since glasnost .

Author Notes

Monica Bohm-Duchen is known for her work as an organizer of exhibitions and as a lecturer and writer on twentieth-century art. She is author of The Nude and Understanding Modern Art, and contributor to the catalogue: Chagall, Love and the Stage (Royal Academy of Arts, London, 1998).

Reviews 1

Library Journal Review

Phaidon continues its "Art & Ideas" series with these two explorations of major artists. Both books firmly anchor the art in the life-context and experiences of the artist, thus allowing the reader to chart clearly his thematic and stylistic development. Belkin (an editor of The Letters of Peter Paul Rubens, Northwestern Univ., 1991) sets the stage for a discussion of Rubens by explaining the political and religious divisions in the Netherlands and by examining his early family life. She traces Rubens's visit to Italy, where he immersed himself in the works of Titian, Raphael, Michelangelo, and Correggio, and then follows him to Antwerp, where he was both a full-fledged painter and a diplomat in good stead with the major courts of Europe. She does a marvelous job of tracking the progression of Rubens's artistic, allegorical, and iconographic content. The author also posits Rubens as a disillusioned diplomat who saw and portrayed women as peace-bearers in an age of turmoil. Bohm-Duchen (Understanding Modern Art, EDC Pubs., 1991) uses the flow of information since glasnost to flesh out the social, religious, and cultural context of Chagall's development as an artist. Although he preferred to be known as an intuitive "tabula rasa," Chagall's Russian-Jewish upbringing; his travels to Paris, Berlin, Palestine, and the United States; and his witness to two world wars greatly affected his work. The historical background Bohm-Duchen gives here can lead toward a better understanding of Chagall's art, but her Chagall is not as fully revealed as Belkin's Rubens. His persona still floats, unmoored, like the Green Violinist against the stark white background of the book's front cover. Based on their price and scope, both books are recommended for public and academic libraries.√ĄNadine Dalton Speidel, Cuyahoga Cty. P.L., OH (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.