Russian-born artist Marc Chagall once said that "the dignity of the artist lies in his duty of keeping awake the sense of wonder in the world." And it is difficult to conceal one’s wonder beneath Chagall’s magnificent ceiling in Paris’s Opéra Garnier, a masterwork that was unveiled on this day in 1964. Show The nearly 2,600-square-foot canvas, which required a staggering 440 pounds of paint, was not initially so well received, however. When French Minister of Culture André Malraux announced the commission for the project in 1960, many were outraged by the prospect of a modernist painter—and a foreign-born one, at that—taking his brush to the ceilings of Charles Garnier’s neo-Baroque masterpiece. But Chagall’s passion for the project won out. Completed over the course of eight months in various Paris studios, the canvas commemorated contemporary and historic composers, actors, and dancers, evoking the transformative power and beauty of art through the rich color and composition for which Chagall was known. The work quickly won over many early doubters and became a benchmark for integrating modernism into France’s historic landmarks: A year later André Masson would be commissioned to create a new ceiling for the Théâtre de l’Odéon. Chagall’s ceiling is now one of the Opéra’s most popular attractions. Admire the Chagall's frescoes, painted on the ceiling of the Opéra Garnier The ceiling of the Opéra Garnier was completely renovated and re-imagined in 1964 at the urging of Minister of Culture André Malraux. The talented Marc Chagall was entrusted with painting 2,400 square feet of frescoes. The opera's new ceiling was widely decried and contested when it was unveiled to the public on September 23, 1964, and the work at this iconic Paris opera house continues to elicit curiosity and stir passions. More than a ceiling: a lush, monumental workIt took Chagall a year to successfully complete this imposing work, which can be interpreted as an encapsulation of the artist's personality. The ceiling of the Opéra Garnier stands out for its luminous colors and myriad details. When you take a closer look, you can see discern winged characters, quintessential Parisian buildings and monuments like the Arc de Triomphe, and musical instruments. If you are especially keen-eyed, you may find Chagall himself or André Malraux, who commissioned this monumental fresco. The ceiling of the Opéra Garnier pays homage to 14 major composers of opera and lyrical music, as well as their oeuvres. Marc Chagall, assisted by Roland Bierge, Paul Versteeg and Jules Paschal, found his way into the history of art in Paris. The feat is even more impressive in light of his advanced age: he was 77 years old when the ceiling at the Opéra Garnier was painted. In addition, the gesture was an unselfish offering as Chagall, inspired by the scale of the task and the mark it would leave on the world, declined to be paid a salary for the work! The Opéra Garnier ceiling before ChagallAlthough the ceiling painted by Chagall is a departure from Opéra Garnier's architecture – for better or worse depending on whom you ask – the work that occupied the space before 1964 was decidedly more classic. Entitled The Muses and the Hours of the Day and Night, it had been created in 1872 by Jules-Eugène Lenepveu, a far more conventional painter. Eugène Lenepveu's original art was not destroyed: the ceiling painted by Chagall was superimposed on the original work using polyester panels that can be easily disassembled. It's a great example of preserving historic artifacts in a building that knows how to reinvent itself and freshen things up without denying its past. When you visit the Opéra Garnier, be sure to raise your eyes to the ceiling and let the visible talents of Marc Chagall transport you to seventh heaven! In 1960, the Minister of Cultural Affairs André Malraux made what in those days was the bold as well as spectacular gesture of commissioning Marc Chagall to paint a new ceiling for the Opéra. True, there was a recent precedent, the rather unsuccessful ceiling painted for the Louvre’s Salle Henri II by George Braque in 1952. And in fact, Malraux would follow up the year after and commission André Masson to do a ceiling for the Théâtre de l’Odéon. Was this an attempt to smash open the orderly but closed world created by Charles Garnier? A media coup at a time when the media were taking over the world. Chagall’s ceiling did, without a doubt, make the
Palais Garnier fashionable again. Just as, twenty years later, Buren’s columns put the spotlight on the Palais-Royal, which Parisians had totally forgotten, and were a great improvement on the car park that had dishonoured its courtyard for decades without anyone seeming to care. And just as, thirty years later, Pei’s pyramid
made the Louvre an international talking point: not that the museum was lacking in claims to fame, but this relatively marginal architectural intrusion ensured that the “Grand Louvre” programme got plenty of global media coverage. Whatever one may think of their artistic merits, there is no denying that these three “gestures” were highly successful in terms of communication. And that, it would seem, was Malraux’s main concern at the Opéra. Likewise, all three interventions brought an
element of continuity as well as rupture. Pei’s pyramid certainly broke with the Renaissance and Napoleon III facades of the Louvre, but it echoes the obelisk on Place de la Concorde. Buren’s columns clearly continue the colonnade of the Galerie d’Orléans, even if they are truncated and striped; and Chagall’s ceiling, while it incontestably breaks with the harmony of the auditorium, is, in many respects, in profound continuity with Garnier’s work (Chagall was an attentive reader of “Le Nouvel
Opéra”). First of all, with his sharp, fresh hues – his “admirable prismatic colours” (André Breton) – Chagall continues and completes the reintroduction of colour, which was so important to Garnier. Chagall’s own gift for colour is something he had discovered when he came to Paris: “In Russia everything is dark, brown, grey. When I came to
France, I was struck by the shimmering colours, the play of light, and I found what I had been blindly groping for, this refinement of matter and uninhibited colour.” In Paris, “things, nature, people were lit up by this ‘light-freedom’ and seemed to bathe in a coloured bath.” Moreover, this ceiling completes the Palais
Garnier’s “pantheon” of illustrious composers throughout the ages. It thus adds some of the architect’s contemporaries, such as Wagner [1]and Berlioz[2] who were “over-looked” in his iconographic programme (Verdi was the only living composer to be represented by a statue at the inauguration in 1875). It also introduces some major composers from the late nineteenth and early twentieth centuries, including three from the relatively recent Russian school (unknown in France until
Diaghilev’s time). What’s more, Chagall evokes these composers through an “Olympus” of characters from their operas. As readers will recall, “Olympus” was Garnier’s generic term for theatre ceilings. Chagall was a lyric painter, and the correspondence, the sympathy linking his ceiling to Garnier’s building runs deeper that one might think. Chagall’s painting is, to borrow the word used by Guillaume Apollinaire when he first visited the artist’s studio at La Ruche in 1912,
“super-natural” (this world would later be replaced by surrealist”), and so is Garnier’s enchanted palace. Chagall’s was a religious, even mystical spirit for whom love was the force that bound together and moved everything in the universe, whose creatures and objects were part of a total motion without top or bottom, gravity or resistance – perfect for painting an opera ceiling! Even more profoundly, Chagall was drawn to an ideal of total theatre. Already, in his home town of Vitebsk,
during his brief spell as director of the Academy of Fine Arts, he scandalised local Communist leaders by getting all the local house painters to help him decorate the place with green cows and flying horses in the celebration of the first anniversary of the October Revolution. And when he worked on the renovated Jewish State Theatre in Moscow, between 1919 and 1921, his vision embraced the whole of the auditorium, so that spectators were surrounded by panels whose designs echoes the sets and
costumes on stage. Total theatre, just like Garnier. Like him, Marc Chagall dreamed of a theatre in which setting and action were one. Chagall refused to be paid for his ceiling. The State covered only the material costs of the work, which was executed between January and August 1964. The painter worked at the Musée des Gobelins, then at the workshop built by Gustav Eiffel at Meudon (it later became an aviation museum) and finally at Vence. Chagall ceiling was inaugurated on 23
September 1964. The ceiling consists of twelve canvas panels plus a round central panel totalling about two hundred and forty square metres and mounted on a plastic structure. The work is signed “Chagall Marc 1964” on the central and main panels. CENTRAL PANEL Going clockwise from stage right, the central panel evokes the following four composers and works:
Moussorgski, “Boris Godounov”. Dominant colour: blue. In the middle, at the centre, the Tsar sits on his throne wearing the insignia of power; above him we see a winged, monster-headed fame and, in green, the city of Moscow; on the right, on the other side of Walter and Bourgeois’ “Hebe”, at the centre of the scene, the people (Chagall: “I consider the people the most sensitive element of society”).
[2] Since 1885, however, a bust of him by Carlier has stood in the auditorium. [3] Cf. André Boll, “Les décors de Marc Chagall pour Daphnis et Chloé,” “Spectacles”, Paris, no. 3. “Le Plafond de Marc Chagall.” In Gérard Fontaine. 2004. “L’Opéra de Charles Garnier Architecture et décor intérieur”. Paris : Éditions du Patrimoine. pp.86-88 Details Additional Items
Get the appExplore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more RecommendedWho painted the ceiling in the Paris Opera?The talented Marc Chagall was entrusted with painting 2,400 square feet of frescoes. The opera's new ceiling was widely decried and contested when it was unveiled to the public on September 23, 1964, and the work at this iconic Paris opera house continues to elicit curiosity and stir passions.
Did Chagall paint the ceiling of the Paris Opera house?Paris, France. In 1960, the Minister of Cultural Affairs André Malraux made what in those days was the bold as well as spectacular gesture of commissioning Marc Chagall to paint a new ceiling for the Opéra.
Who painted auditorium of Paris opera house?The “Italian-style” auditorium, with its ceiling painted in 1964 by Marc Chagall, can accommodate 2054 spectators.
Who painted opera house?White and clean again, the Palais Garnier opera house hides a surprise to its visitors. A new ceiling is now hiding the original one. The nearly 240 m² canvas was commissioned by French Minister André Malraux to the painter Marc Chagall, who just unveiled his work today.
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