Editing Marc Chagall (section)

==Other forms of art==

===Murals, theatre sets and costumes===
Chagall first worked on stage designs in 1914 while living in Russia, under the inspiration of the theatrical designer and artist [[Léon Bakst]].<ref name =Remsen>Penny L. Remsen "Chagall, Marc" in Thomas J Mikotowicz, ''Theatrical designers: and International Biographic Dictionary. ''New York: Greenwood, 1992 {{ISBN|0313262705}}</ref> It was during this period in the Russian theatre that formerly static ideas of stage design were, according to Cogniat, "being swept away in favor of a wholly arbitrary sense of space with different dimensions, perspectives, colors and rhythms."<ref name=Cogniat/>{{rp|66}} These changes appealed to Chagall who had been experimenting with Cubism and wanted a way to enliven his images. Designing murals and stage designs, Chagall's "dreams sprang to life and became an actual movement."<ref name=Cogniat/>

As a result, Chagall played an important role in Russian artistic life during that time and "was one of the most important forces in the current urge towards anti-realism" which helped the new Russia invent "astonishing" creations. Many of his designs were done for the Jewish Theatre in Moscow which put on numerous Jewish plays by playwrights such as [[Nikolai Gogol|Gogol]] and [[John Millington Synge|Synge]]. Chagall's set designs helped create illusory atmospheres which became the essence of the theatrical performances.<ref>{{cite book|author=Susan Goodman|others=with essays by Zvi Gitelman, Vladislav Ivanov, Jeffrey Veidlinger, and Benjamin Harshav|title=Chagall and the Artists of the Russian Jewish Theater|url=https://archive.org/details/chagallartistsof0000unse|publisher=Yale University Press|year=2008|isbn=9780300111552|access-date=15 March 2012}}</ref>

After leaving Russia, twenty years passed before he was again offered a chance to design theatre sets. In the years between, his paintings still included harlequins, clowns and acrobats, which Cogniat notes "convey his sentimental attachment to and nostalgia for the theatre".<ref name=Cogniat/> His first assignment designing sets after Russia was for the ballet "Aleko" in 1942, while living in the US. In 1945 he was also commissioned to design the sets and costumes for Stravinsky's [[The Firebird|''Firebird'']]. These designs contributed greatly towards his enhanced reputation in the US as a major artist and, as of 2013, are still in use by [[New York City Ballet]].

Cogniat describes how Chagall's designs "immerse the spectator in a luminous, colored fairy-land where forms are mistily defined and the spaces themselves seem animated with whirlwinds or explosions."<ref name=Cogniat/> His technique of using theatrical color in this way reached its peak when Chagall returned to Paris and designed the sets for [[Maurice Ravel|Ravel]]'s ''[[Daphnis et Chloé]]'' in 1958.

In 1964 he repainted the ceiling of the [[Paris Opera]] using {{convert|2400|sqft|m2}} of canvas. He painted two monumental murals which hang on opposite sides of the new [[Metropolitan Opera]] house at [[Lincoln Center]] in New York which opened in 1966. The pieces, [[The Sources of Music and The Triumph of Music|''The Sources of Music'' and ''The Triumph of Music'']], which hang from the top-most balcony level and extend down to the Grand Tier lobby level, were completed in France and shipped to New York, and are covered by a system of panels during the hours in which the opera house receives direct sunlight to prevent fading. He also designed the sets and costumes for a new production of ''[[Die Zauberflöte]]'' for the company which opened in February 1967<ref>{{Cite magazine |date=1967-03-03 |title=Opera: Flowery Flute|magazine=[[Time (magazine)|Time]]|url=https://content.time.com/time/subscriber/article/0,33009,843457,00.html |access-date=2022-12-17}}</ref> and was used through the 1981/1982 season.

===Tapestries===
[[File:Ceramic Moses.jpg|thumb|Ceramic plate titled ''Moses'']]
[[File:Belarus-Vitsebsk-Marc Chagall Art-Center.jpg|thumb|Chagall Art Centre in [[Vitebsk]], Belarus]]

Chagall also designed tapestries which were woven under the direction of [[Yvette Cauquil-Prince]], who also collaborated with [[Picasso]]. These tapestries are much rarer than his paintings, with only 40 of them ever reaching the commercial market.<ref>{{cite web |url=http://www.moscow-faf.com/DesktopDefault.aspx?tabid=13&tabindex=12&highlightid=9382&categoryid=0 |title=Moscow-faf.com |publisher=Moscow-faf.com |access-date=15 March 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120312040106/http://www.moscow-faf.com/DesktopDefault.aspx?tabid=13&tabindex=12&highlightid=9382&categoryid=0 |archive-date=12 March 2012}}</ref> Chagall designed three tapestries for the state hall of the [[Knesset]] in Israel, along with 12-floor mosaics and a wall mosaic.<ref>{{cite web|url=https://www.jewishvirtuallibrary.org/jsource/Politics/Chagall.html |title=The Knesset: The Chagall State Hall|publisher=Jewishvirtuallibrary.org |access-date=15 March 2012}}</ref>

===Ceramics and sculpture===
Chagall began learning about ceramics and sculpture while living in south France. Ceramics became a fashion in the [[Côte d'Azur]] with various workshops starting up at Antibes, Vence and Vallauris. He took classes along with other known artists including [[Picasso]] and [[Fernand Léger]]. At first Chagall painted existing pieces of pottery but soon expanded into designing his own, which began his work as a sculptor as a complement to his painting.

After experimenting with pottery and dishes he moved into large ceramic murals. However, he was never satisfied with the limits imposed by the square tile segments which Cogniat notes "imposed on him a discipline which prevented the creation of a plastic image."<ref name=Cogniat/>{{rp|76}}