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By Federico Zeri

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And it was this interpretation as much as anything else that yielded his characteristic personal style. For Chagall, the simultaneity that came to matter most was not that of vision but of imagination and memory. And so he began to depict, in paintings ever less dependent on perception of the real world, the diverse images floating in his conscious and subconscious thoughts. In this dreamlike universe, all juxtapositions, all transformations, all apparitions were possible. The space of naire, these paintings is neither the perspectival space of Chagall's early works, nor the Cubist space of Picasso, nor the Orphic space of Delaunay.

These are rich, velvety colors, modulated in rhythms of light and dark, a hallmark of Chagall's mature painting style. The enigmatic, clocklike nu- merals introduce metaphorically the idea of time, perhaps an obUque reference to the concept of time as elaborated by ApolliHenri Bergson, and other explicators of simultaneity. It was not long after his Homage to Apollinaire that Chagall went on to interpret the concept of aesthetic simultaneity in his own highly original manner. And it was this interpretation as much as anything else that yielded his characteristic personal style.

1923 on canvas, 31 ^'s x 39''5 in. Solomon R Guggenheim Museum, New York 53. Oil Solitude. 1933 on canvas, 40' b Tel Aviv Museum x 66' b in. of Art; Gift of the artist triumph and subsequent disappointment in the years of the revolution, the broadness and narrowness, the extravagant ideaHsm and paltr>' meanness of the Russian world, are summed up for him in the famous novel. "^^ Although VoUard did not publish these etchings, he must have been satisfied with them, for he next commissioned Chagall to execute a suite of prints to illustrate the Fables of La Fontaine (first published with the Chagall illustrations in 195Z).

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La persistenza della memoria di Salvador Dalì by Federico Zeri


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