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MARC CHAGALL (1887-1985)

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The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky. The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky.
Les mariés sous le baldaquinc. 1978-198023 1/2 x 31 7/8 in.(81.1 x 60.1 cm) oil and gouache on canvas
Provenance
Galerie Lelong, Paris
Private Collection
Galere Boulakia, Paris
Private Collection, acquired from the above, September 16, 2003
Sotheby's New York: November 8, 2007, lot 427
Private Collection, acquired from the above sale
Sotheby's Paris: June 1, 2016, lot 17
Private Collection, acquired from the above sale
Exhibition
A Certificate from Comité Marc Chagall dated May 27, 1997 accompanies this work
 Price1,480,000
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“If I create from the heart, nearly everything works; if from the head, almost nothing.” – Marc Chagall

History

The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky.

  • andre-kertesz-marc-chagall-in-his-studio-paris-1933
    Marc Chagall in Paris, 1933, Photographed by André Kertész
  • Promenade
    Marc Chagall, “The Promenade”, 1917
  • Lorenzo Lotto Portraits
    Photo © Lorenzo Lotto, “Portrait of Mr. Marsilio Cassotti and His Wife, Faustina”, 1523, Kimball Art Museum, Texas
  • Photo by Jean Pierre
    Marc Chagall, Photo by Jean Pierre LothlNA
“In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of love.” – Marc Chagall

Top Results at Auction

"Les Amoureux" (1928), oil on canvas, 46 x 36 in. Sold at Sotheby’s New York: 14 November 2017 for $28,453,000
“Les Amoureux” (1928), oil on canvas, 46 x 36 in. Sold at Sotheby’s New York: 14 November 2017 for $28,453,000
"Le Grand Cirque" (1956), oil on canvas, 63 x 122 in. Sold at Sotheby’s New York: 14 November, 2017 for $16,034,000
“Le Grand Cirque” (1956), oil on canvas, 63 x 122 in. Sold at Sotheby’s New York: 14 November, 2017 for $16,034,000
"Anniversaire" (1923), oil on canvas, 32 x 39 ½ in. Sold at Sotheby’s New York: 17 May 1990 for $14,850,000
“Anniversaire” (1923), oil on canvas, 32 x 39 ½ in. Sold at Sotheby’s New York: 17 May 1990 for $14,850,000
"Les Trois Cierges" (1939), oil on canvas, 51 ½ x 38 in. Sold at Christie’s New York: 15 May 2017 for $14,583,500
“Les Trois Cierges” (1939), oil on canvas, 51 ½ x 38 in. Sold at Christie’s New York: 15 May 2017 for $14,583,500

Comparable Paintings Sold at Auction

"Le Modéle" (1972), oil on canvas, 32 x 25 1/2 in. Sold at Sotheby’s New York: 17 May 2022 for $3,964,000
“Le Modéle” (1972), oil on canvas, 32 x 25 1/2 in. Sold at Sotheby’s New York: 17 May 2022 for $3,964,000
  • Similar size to Les mariés sous le baldaquin
  • Same motif, featuring a couple and a painting of a couple being married under a canopy as in Les mariés sous le baldaquin
"Clown en Jaune" (1979), oil on canvas, 36 x 25 1/2 in. Sold at Sotheby’s New York: 17 May 2022 for $3,196,000
“Clown en Jaune” (1979), oil on canvas, 36 x 25 1/2 in. Sold at Sotheby’s New York: 17 May 2022 for $3,196,000
  • Painted same time as Les mariés sous le baldaquin
  • Similar size to Les mariés sous le baldaquin
"Couple au Cirque" (1980), oil on canvas, 39 ½ x 32 in. Sold at Christie’s Hong Kong: 1 December, 2021 for $3,728,500
“Couple au Cirque” (1980), oil on canvas, 39 ½ x 32 in. Sold at Christie’s Hong Kong: 1 December, 2021 for $3,728,500
  • Features a couple as in Les mariés sous le baldaquin
  • Painted same time as Les mariés sous le baldaquin
"Les Fleurs de Vence" (1979-1980), oil on canvas, 29 ¾ x 39 ½ in. Sold at Sotheby’s New York: 16 May, 2017 for $2,772,500
“Les Fleurs de Vence” (1979-1980), oil on canvas, 29 ¾ x 39 ½ in. Sold at Sotheby’s New York: 16 May, 2017 for $2,772,500
  • Same period as Les mariés sous le baldaquin
  • Same theme, featuring a couple getting married
"Le Couple ux Deux Bouquets" (1982), oil on canvas, 39 ½ x 29 in. Sold at Christie’s London: 23 March, 2021 for $2,762,000
“Le Couple ux Deux Bouquets” (1982), oil on canvas, 39 ½ x 29 in. Sold at Christie’s London: 23 March, 2021 for $2,762,000
  • Just two years after Les mariés sous le baldaquin
  • Same theme, featuring a couple in love

Paintings in Museum Collections

"The Flying Carriage" (1913), oil on canvas, 42 x 47 1/4 in., The Guggenheim, New York
“The Flying Carriage” (1913), oil on canvas, 42 x 47 1/4 in., The Guggenheim, New York
"The Lovers" (1913-1914), oil on canvas, 42 7/8 x 53 in., The Met, New York
“The Lovers” (1913-1914), oil on canvas, 42 7/8 x 53 in., The Met, New York
"I and the Village" (1911), oil on canvas, 75 x 59 5/8 in., Museum of Modern Art, New York
“I and the Village” (1911), oil on canvas, 75 x 59 5/8 in., Museum of Modern Art, New York
"The Lovers" (1937), oil on canvas, 42 1/2 x 33 1/2 in., The Israel Museum, Jerusalem
“The Lovers” (1937), oil on canvas, 42 1/2 x 33 1/2 in., The Israel Museum, Jerusalem
“Only love interests me, and I am only in contact with things that revolve around love.” – Marc Chagall

Authentication

The definitive authority on the authenticity of paintings by Marc Chagall, the Comite Marc Chagall inspected this painting in 1997 and provided this letter of authenticity. 

Authentication

Additional Resources

Marc Chagall’s iconic Chicago mosaic still dazzling in all seasons
Marc Chagall’s iconic Chicago mosaic still dazzling in all seasons
Marc Chagall’s Ceiling for the Paris Opera House
Marc Chagall’s America Windows, The Art Institute of Chicago
Marc Chagall: Reflections of a Granddaughter

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