1966-67 Lincoln Center Metropolitan Opera commemorative program playbill, 144 pp, boldly signed twice in full in black ink "Marc Chagall" and "Marc Chagall N.Y. 1967" beneath the color reproductions of his iconic The Sources of Music and The Triumphs of Music, 30 feet by 36 feet murals forever-fixed to the walls of Lincoln Center. In fine condition. 8 x 11 inches.
As art critic Patricia Boccadoro wrote of the paintings, the yellow panel that is The Sources of Music shows King David in double profile as he plays a harp surrounded by musicians, animals and angels, while the red panel that is The Triumph of Music, “represents a victorious angel blowing a trumpet in the midst of a whirlwind, sweeping up musicians, orchestra, dancers and phantasmagorical animals in its wake.” The anecdote of Chagall’s response to the placement of the murals which Chagall had originally envisioned as being reversed is almost as famous as the pieces themselves. As scholar Jackie Wullschlager notes in her biography of the artist, Chagall reported that upon seeing the murals in their reversed state, he “yelled as I never have before. My mother, when she gave birth to her children, didn’t yell as much. I could doubtless be heard all over Lincoln Square.” However, the artist eventually he decided he liked the placement, and in fact, preferred it to his original vision.
1966-67 Lincoln Center Metropolitan Opera commemorative program playbill, 144 pp, boldly signed twice in full in black ink "Marc Chagall" and "Marc Chagall N.Y. 1967" beneath the color reproductions of his iconic The Sources of Music and The Triumphs of Music, 30 feet by 36 feet murals forever-fixed to the walls of Lincoln Center. In fine condition. 8 x 11 inches.
As art critic Patricia Boccadoro wrote of the paintings, the yellow panel that is The Sources of Music shows King David in double profile as he plays a harp surrounded by musicians, animals and angels, while the red panel that is The Triumph of Music, “represents a victorious angel blowing a trumpet in the midst of a whirlwind, sweeping up musicians, orchestra, dancers and phantasmagorical animals in its wake.” The anecdote of Chagall’s response to the placement of the murals which Chagall had originally envisioned as being reversed is almost as famous as the pieces themselves. As scholar Jackie Wullschlager notes in her biography of the artist, Chagall reported that upon seeing the murals in their reversed state, he “yelled as I never have before. My mother, when she gave birth to her children, didn’t yell as much. I could doubtless be heard all over Lincoln Square.” However, the artist eventually he decided he liked the placement, and in fact, preferred it to his original vision.