Chagall is so often lauded for his ability to bring the viewer into a vibrant and blissful world that it is refreshing to see how well he conveys his infectious joie de vivre without using color. Free of coloration and executed in pencil and transparent gray washes, Les Amoureux sur le Divan might well reflect the pathos and bereavement that remained after the death of his beloved Bella in September 1944. On the other hand, it may depict his current paramour, and the mother of his second child, Virginia Haggard. In either case, Les Amoureux sur le Divan refreshes our appreciation for an artist unmatched in his desire and ability to share private memories of such loving intimacy, engaging us as fortunate voyeurs to the most rapturous moments of a life well-lived.