On some photographs taken in the studio, Chagall appears to be surrounded by his works of art, or in the midst of painting them, giving us a glimpse of his movements and tools: easels, brushes, palettes, pigments, pencils, and pastels showing the physical materials involved in each piece created. To this we can add many books, revealing the artist’s diverse sources of inspiration. The purpose of a studio is to create a space conducive to art. The space was set up to facilitate the creation of larger-scale works using the grid method to scale them. Valentina and Marc Chagall had the villa La Colline built in Saint-Paul-de-Vence, and in 1966 they moved in. A large part of the house was devoted to the artist’s studio, made up of several areas designed and organized to enhance creativity. There was a room devoted to sculpture, with a press for engraving, and several large panels used to make vertical adjustments to monumental compositions. His works were then hung up and stored using a sliding support system mounted on rails. The house was designed to accommodate the artist’s various creative outlets. A large bay window could also be seen in his works depicting the studio in Saint-Paul (The Studio in Saint-Paul, 1967), or in photographs taken at the villa. In front of this window, Chagall devoted himself to drawing a monotone vision of the stained-glass fragments visible between the railings, from 1977 onwards.  The window looked out onto orange and olive trees, as did the one in Vence, from which the trees were displaced. The studio was bathed in a soft Mediterranean light that inspired the artist’s work from the moment he moved southwards in 1949, until his passing in 1985.