Branch and Flute-Player - Marc Chagall
Archival giclée
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Description
A dreamlike lithograph by Marc Chagall, featuring a flute-player and reclining figures within a textured, symbolic forest setting.
This lithograph by Marc Chagall displays the characteristic dreamlike atmosphere associated with his mid-century graphic work. The composition is dense, layering figures and natural elements in a way that defies traditional spatial logic. A flute-player is positioned within the upper branches of a tree, while below, a reclining figure rests in a setting that blends human form with animalistic or mythical features. A bird, rendered in a gestural style, occupies the upper left, adding to the sense of a suspended, otherworldly narrative.
Chagall frequently returned to themes of music, nature, and folklore throughout his career. His approach to printmaking allowed him to explore these subjects through a monochromatic lens, relying on texture and tonal variation rather than his typical saturated palette. The marks are spontaneous, suggesting a direct transfer of his internal imagery onto the stone. The interplay between the dark, textured background and the lighter, negative spaces creates a sense of depth that feels both atmospheric and personal.
This work is representative of Chagall's later graphic output, where he moved away from strict representational accuracy to favour a more fluid, symbolic language. The figures appear to float, a recurring motif in his work that suggests a detachment from gravity and reality. By stripping away colour, the viewer is invited to focus on the rhythm of the lines and the placement of the forms. It is a quiet, contemplative piece that captures the artist's ability to weave disparate elements into a cohesive, if enigmatic, visual poem. The print serves as an example of how Chagall utilised the medium of lithography to maintain the immediacy of his sketches while producing works that possess a distinct, finished quality.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Branch and Flute-Player - Marc Chagall
Artist Biography
Marc Chagall
He was born Moishe Shagal in 1887, in the Pale of Settlement, the restricted zone where Jews were permitted to live in the Russian Empire. His father worked at a herring warehouse. The family was devout Hasidic. After studying in St Petersburg, he went to Paris in 1911 and immersed himself in the Fauvists and Cubists, absorbing their formal innovations without abandoning the narrative imagery of his childhood. The colour and the dreamlike floating figures were already there in Vitebsk. Paris gave him the structure.
He met Bella Rosenfeld, the daughter of a wealthy Vitebsk jeweller, and married her in 1915. She became his primary subject for the next three decades. The flying lovers that recur across his work, gravity-defying couples suspended above rooftops and villages, began with Bella. When she died of a streptococcal infection in New York in September 1944, penicillin existed but the entire supply was reserved for soldiers. He stopped painting for nine months. He continued to paint her memory for the remaining forty-one years of his life.
Picasso once said that when Matisse dies, Chagall will be the only painter left who understands what colour really is. The friendship ended at a dinner at Chagall's home in 1964. Picasso asked when he was going back to Russia. Chagall replied: after you, I hear you are greatly loved there but not your work. They never spoke again.
His late stained glass commissions are among the strongest work of his final decades: the Peace Window at the United Nations, the twelve windows representing the Tribes of Israel at the Hadassah Medical Centre in Jerusalem, and windows at Metz Cathedral. In 1964, Andre Malraux commissioned him to paint the ceiling of the Paris Opera, a decision that provoked fury from critics who objected to a Russian-born Jewish artist working inside a French Baroque monument. He lived to ninety-seven.
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