Tree of Jesse - Marc Chagall
Archival giclée
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Description
A dreamlike interpretation of the Tree of Jesse by Marc Chagall, featuring a central flowering tree filled with biblical figures and symbolic imagery.
Marc Chagall’s Tree of Jesse, painted in 1960, presents a complex synthesis of biblical narrative and personal iconography. The composition centres on a large, flowering tree that functions as a genealogical structure, tracing the lineage of Christ. Chagall employs a dreamlike, non-linear spatial arrangement, characteristic of his later period, where figures float within a dense, atmospheric field of colour. The central trunk supports a variety of scenes, including the crucifixion, which is positioned near the upper canopy. Below this, the artist depicts the Virgin and Child, surrounded by a flurry of brushwork that suggests both foliage and celestial energy. To the left, a pair of figures in deep blue tones evokes the intimacy often found in Chagall’s work, grounding the spiritual subject matter in human emotion. The palette is dominated by intense blues, which provide a cool, ethereal backdrop for the warmer reds, oranges, and greens of the central tree. Chagall’s approach to the Tree of Jesse departs from traditional medieval depictions, which typically followed a rigid, hierarchical order. Instead, he treats the subject as a fluid, organic entity. The figures appear to emerge from the branches, suggesting a cycle of life and faith that is both continuous and interconnected. The application of paint is layered and gestural, creating a sense of movement that permeates the entire canvas. By blending these disparate elements, Chagall creates a visual space where history, theology, and personal memory coexist. The work demonstrates his ability to transform ancient motifs into a contemporary visual language, prioritising emotional resonance over strict representational accuracy. This piece remains a primary example of his late-career focus on religious themes, executed with his signature blend of fantasy and spiritual reflection.
Return policy
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. EU customers have a 14-day cooling-off right. 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.
Tree of Jesse - Marc Chagall
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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