Coucher de soleil et coq au double-profil ou Le souvenir de la ville 1971

Editor: Here we have Marc Chagall’s “Coucher de soleil et coq au double-profil ou Le souvenir de la ville,” painted in 1971, using oil paint. The whole thing seems to vibrate with color and feeling; I’m immediately struck by how dreamlike it is. What do you see in this piece? Curator: Focusing on its formal elements, one notes first the dynamic tension between the intense red sun and the paler crescent moon. How do these opposing celestial bodies shape the emotional tenor of the work? And what semiotic meaning do we derive from the recurring motif of the rooster-beast? Consider, too, the subject matter: the man perched upon the rooster-creature, suspended above a seemingly fantastical village. This visual arrangement disrupts the conventional hierarchy of space and form. Editor: So you're saying it’s not just a whimsical scene but a structured composition meant to convey a certain meaning? Is it possible the dreamlike quality actually *adds* to its impact, almost like surrealist poetry? Curator: Precisely! It is the formal deconstruction, coupled with a certain naive approach, that speaks volumes. Consider the way Chagall manipulates the symbolic weight of figures – the rooster, the lovers below. It’s an exploration of visual language rather than a mere representation of a dream. Notice how line, color, and shape all combine. Editor: It makes me appreciate how every detail, no matter how surreal, contributes to the overall feeling, like a carefully planned puzzle. It also shows how an understanding of form enhances meaning. Curator: Exactly! Thinking structurally helps one understand not only Chagall, but modern art overall. A stimulating visual investigation indeed!