Exhibit of the week: Chagall: Love, War, and Exile

The works in this show should put to rest the myth that only early Chagall is worth looking at.

The Jewish Museum, New York City,

Through Feb. 2

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Chagall chose an unlikely symbol of Jewish suffering during the war, said Robin Cembalest in ArtNews.com. Fully 20 of the works in this “startling and provocative show” depict Jesus, generally in crucifixion scenes. Though Chagall worried that he shouldn’t have been adopting Christian iconography, he was far from the only Jewish artist of the time who did so. Chagall, like many others, chose to depict the suffering of the most famous of Jewish prophets as a way to call attention to the suffering of all Jews during the war. But he also appears to have been attracted to Jesus’ qualities as “a rebel, a martyr, and a creative spirit.” In some paintings, like 1941’s Descent From the Cross, “the man on the cross is the artist himself.”

The best works here “have the potential to convert viewers who are put off by Chagall’s sappier tendencies,” said Karen Rosenberg in The New York Times. Pablo Picasso once said that “when Matisse dies, Chagall will be the only person left who understands what color really is,” and this show argues his case. The curators made the unfortunate choice of tacking on a happy ending, filling the last gallery with moony paintings that the widowed artist made after falling in love again. “Yes, an exhibition called “Chagall: War and Exile” would have been a tougher sell, but it would have shown a thornier side of an artist known for sentimental paintings of floating couples, flying goats, and fiddlers on the roof.” Yet even in those final works, “color has a manic intensity that sometimes cuts against the theme of contentment.” It’s all the evidence you should need to put to rest the myth that only early Chagall is worth looking at.