In 1949, Chagall settled in the South of France, in Saint-Jean-Cap-Ferrat, then acquired the villa Les Collines in Vence. Just like other artists such as Henri Matisse, he discovered the delights of the Mediterranean light, which greatly inspired his work. He explored other artistic practices through collaborations as early as 1942, when working on the stage decor and costumes for the Aleko and The Firebird ballets, transcending a highly personal vision of his studio. Archived photographs portraying Chagall alongside his co-artists, or spending time in their studios, reflect the wealth of techniques used and the cross-disciplinary nature of his work. He used to visit the stone mason and marble worker Lisarelli’s studio, as well as the smelter Susse’s workshop, to carve sculptures. Just like Picasso, Chagall worked on ceramics in Vallauris (he learned to do so in Antibes), in the Madoura studio run by Suzanne and Georges Ramié. The artist also tried his hand at stained glass in Simon-Marq’s studio, mosaics with Heidi and Lino Melano, and tapestry with Yvette Cauquil-Prince. Chagall used to work on his monumental art anywhere he deemed fit. His studio would follow him beyond physical walls. He designed the ceiling panels for the Paris opera house, working at the Gobelins studio. His process was captured by the photographer Izis. Chagall always kept a foothold in Paris, a city he glorified in his Paris Series (1953-1956) and where he kept a studio dwelling starting in 1955—first located on Quai de Bourbon, then Quai d’Anjou—right up to the end of his life.
In 1949, Chagall settled in the South of France, in Saint-Jean-Cap-Ferrat, then acquired the villa Les Collines in Vence. Just like other artists such as Henri Matisse, he discovered the delights of the Mediterranean light, which greatly inspired his work. He explored other artistic practices through collaborations as early as 1942, when working on the stage decor and costumes for the Aleko and The Firebird ballets, transcending a highly personal vision of his studio. Archived photographs portraying Chagall alongside his co-artists, or spending time in their studios, reflect the wealth of techniques used and the cross-disciplinary nature of his work. He used to visit the stone mason and marble worker Lisarelli’s studio, as well as the smelter Susse’s workshop, to carve sculptures. Just like Picasso, Chagall worked on ceramics in Vallauris (he learned to do so in Antibes), in the Madoura studio run by Suzanne and Georges Ramié. The artist also tried his hand at stained glass in Simon-Marq’s studio, mosaics with Heidi and Lino Melano, and tapestry with Yvette Cauquil-Prince. Chagall used to work on his monumental art anywhere he deemed fit. His studio would follow him beyond physical walls. He designed the ceiling panels for the Paris opera house, working at the Gobelins studio. His process was captured by the photographer Izis. Chagall always kept a foothold in Paris, a city he glorified in his Paris Series (1953-1956) and where he kept a studio dwelling starting in 1955—first located on Quai de Bourbon, then Quai d’Anjou—right up to the end of his life.