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Student Artwork Guide

The Drunkard

Name Class Date

Marc Chagall, The Drunkard (1912). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Marc Chagall artsdot.com/en/artists/marc-chagall/
Artist’s dates
1887 – 1985
Painted
1912
Original size
85 x 115 cm
Period
Modern
Artistic style
Expressionism
Influences
Hasidic folklore, Vitebsk
Notable elements
Birds, wine bottle
Subject or theme
Drunkenness, contemplation

In context

The Drunkard — Marc Chagall

How big is it?

The original measures 85 × 115 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950
  9. 1960
  10. 1970
  11. 1980

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 98 at death.

Painted when the artist was 25. The artist lived to 98. 28 of the 878 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Marc Chagall (1887–1985) ▲ this work, 1912 every dated painting, decade by decade

First works: up to 1930 Main working years: 1930–1965 Late works: from 1965

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/marc-chagall-the-drunkard-8XYGLP-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #242e30

    Catalogued palette

    • #242E30
    • #BEA551
    • #D0CDC7
    • #945849

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Marc Chagall over the last twelve months — 64 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 38.4%
    2. 2 Germany 5.1%
    3. 3 United States of America 5.1%
    4. 4 France 4.5%
    5. 5 Netherlands 3.3%
    6. 6 Spain 3.0%
    7. 7 Poland 2.8%
    8. 8 Australia 2.3%
    9. 9 South Korea 2.2%
    10. 10 Italy 2.1%
    11. · 54 other countries 31.2%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Marc Chagall

    1. 1 I and the Village, 1911 9.6%
    2. 2 The Birthday, 1915 9.2%
    3. 3 Over the town, 1918 4.6%
    4. 4 The Green Violinist, 1924 3.5%
    5. 5 The Concert, 1957 1.6%
    6. 6 Adam and Eve expelled from Paradise, 1961 1.3%
    7. 7 The Fall of Icarus, 1975 1.1%
    8. 8 Midsummer Night's Dream, 1939 1.1%
    9. 9 Liberation, 1952 0.9%
    10. 10 The Lovers, 1929 0.9%
    11. 11 The return of the prodigal son, 1975 0.8%
    12. 12 Abraham and three Angels, 1966 0.8%
    13. 13 The Praying Jew (Rabbi of Vitebsk), 1914 0.8%
    14. 14 Dans mon pays 0.8%
    15. 15 Red Roofs, 1954 0.7%
    16. 16 The Betrothed and Eiffel Tower, 1913 0.7%
    17. 17 Easter, 1968 0.6%
    18. 18 The blue fiddler, 1947 0.6%
    19. 19 Compositional Study for ‘To Russia, to the Asses and Others’, 1912 0.6%
    20. — The Drunkard, 1912 this painting 0.0%

    Together these works take 40.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 906 works by this artist, of which 541 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    The Drunkard — Marc Chagall

    A Portrait of Introspection: Marc Chagall’s "The Drunkard"

    Marc Chagall's 1912 painting, “The Drunkard,” is more than just a depiction of a man enjoying a drink; it’s a profound meditation on memory, identity, and the enduring power of folklore. Executed during a pivotal period in the artist’s career, this work embodies the burgeoning expressionism that would come to define his later masterpieces while retaining the deeply personal symbolism rooted in his Belarusian heritage. Measuring 85 x 115 cm, the painting invites viewers into a world where reality and dream intertwine, creating an intensely evocative atmosphere.

    Subject and Composition

    The central figure is a man seated at a table, cradling a bottle with a contemplative gaze fixed on the distance. The composition immediately draws attention to his solitary state, suggesting a retreat into private thoughts or perhaps a poignant reflection on past experiences. Two birds are strategically placed within the scene – one near the center, seemingly observing the drinker, and another positioned towards the left. This detail is particularly significant, referencing Chagall’s recurring motif of avian figures, often interpreted as symbols of freedom, spirituality, and connection to the heavens. The table itself, laden with a bowl and wine glass, reinforces the theme of indulgence and perhaps, a melancholic acceptance of fate.

    Style and Technique – A Fusion of Realism and Fantasy

    Chagall’s technique in “The Drunkard” exemplifies his unique approach—a masterful blend of realism and fantastical elements. While the figure and table possess a recognizable, almost photographic quality, the background is rendered with an ethereal, dreamlike haze. The use of vibrant colors – rich blues, greens, and yellows – contributes to this otherworldly effect. Chagall’s brushwork is loose and expressive, conveying not just visual information but also emotional intensity. This technique, characteristic of his early work, foreshadowed his later explorations of abstraction while firmly grounding him in representational art.

    Symbolism and Historical Context

    Born in 1887 in Liozna, Belarus – a town that would forever shape his artistic vision – Chagall was deeply influenced by the Jewish folklore and traditions of his upbringing. “The Drunkard” can be interpreted as an allegory for the human condition, exploring themes of loneliness, regret, and the search for solace. The bird imagery, prevalent throughout his oeuvre, often represents a yearning for spiritual transcendence or a connection to ancestral roots. Painted in 1912, this work reflects the broader artistic currents of the time – the rise of expressionism challenging traditional academic styles and exploring subjective emotional experience. It’s a crucial piece in understanding Chagall's development as an artist, bridging his early realism with the increasingly symbolic language that would define his later career.

    Emotional Impact and Artistic Value

    "The Drunkard" possesses a haunting beauty and profound emotional resonance. It’s a painting that invites contemplation, prompting viewers to consider themes of isolation, memory, and the human desire for escape. As a significant work from Marc Chagall's early period, it offers a rare glimpse into the genesis of his artistic vision – a testament to his extraordinary ability to transform personal experience into universal symbols. A hand-painted reproduction of this artwork will bring a touch of Chagall’s dreamlike world into any space, offering both aesthetic pleasure and intellectual stimulation.

    Artist and museum

    Artist

    Marc Chagall

    Born in Liovana, Belarus

    A Life Painted in Dreams: The World of Marc Chagall

    Marc Chagall, born Moishe Shagal in 1887 in the small Belarussian town of Liozna near Vitebsk, wasn’t merely a painter; he was a poet of color, a weaver of dreams, and a chronicler of memory. His life, spanning nearly a century, mirrored the tumultuous currents of the 20th century, yet his art remained steadfastly rooted in a deeply personal vision—one infused with the folklore of his Hasidic Jewish upbringing and an unwavering belief in the power of imagination. Vitebsk itself was more than just a birthplace; it became the emotional core of his artistic universe, a recurring motif populated by flying figures, whimsical animals, and the vibrant hues of remembered landscapes. The town’s unique blend of cultures—Russian Orthodox churches alongside bustling Jewish marketplaces—forged an aesthetic sensibility that would defy easy categorization throughout his long career. Though he sought formal training first with a local sign painter and later in St. Petersburg under Léon Bakst, and then in Paris at the Académie de la Grande Chaumière, Chagall never fully embraced any single artistic movement. He absorbed elements of Cubism, Symbolism, and Fauvism, but always filtered them through his own intensely personal lens, creating a style that was uniquely, unmistakably Chagall.

    Forging a Unique Visual Language

    Chagall’s early works already hinted at the distinctive language he would develop. Paintings like I and the Village (1911) are not simply depictions of place; they are explorations of identity, memory, and the relationship between the individual and community. The village isn't rendered realistically but as a fragmented collection of recollections, imbued with symbolic meaning. This ability to transmute personal experience into universal themes became a hallmark of his art. His palette was bold and expressive, often employing vibrant, non-naturalistic colors to convey emotion rather than literal representation. Figures float and dance across the canvas, defying gravity and logic, creating a dreamlike atmosphere that invites viewers into his inner world. This stylistic approach wasn’t accidental; it stemmed from a desire to move beyond mere imitation of reality and capture the essence of feeling, the weight of memory, and the power of folklore. The Russian Revolution brought Chagall back to Vitebsk, where he became involved in cultural initiatives, establishing an art school that briefly flourished before succumbing to the restrictions imposed by the new regime. This period was marked by both creative energy and political disillusionment, a tension that would continue to shape his artistic trajectory.

    A Life Between Worlds: Paris, New York, and Beyond

    Eventually, Chagall left Russia for good, settling in France in 1923. This marked the beginning of a period of international recognition and prolific creativity. Works like Over Vitebsk (1920-1922) demonstrate his continued engagement with his childhood memories, while paintings inspired by biblical stories—such as Jacob’s Dream—reveal a growing interest in religious themes. The outbreak of World War II forced him to flee occupied France for the United States, where he spent seven years in New York City. This period was marked by profound emotional upheaval and artistic experimentation. He found solace in his art, creating powerful works that reflected the anxieties and uncertainties of the time. White Crucifixion (1938), a haunting depiction of suffering and persecution, stands as a testament to this era. After the war, Chagall returned to France, where he continued to paint and create until his death in 1985 at the age of 97.

    Legacy and Enduring Influence

    In his later years, Marc Chagall received numerous prestigious commissions, including the ceiling of the Paris Opera (1964), a breathtaking explosion of color and form that celebrated musical masterpieces, and stunning stained glass windows for the Hadassah Hebrew University Medical Center synagogue in Jerusalem. These large-scale projects allowed him to translate his artistic vision into architectural spaces, creating immersive environments that continue to inspire awe and wonder. Chagall’s influence on subsequent generations of artists is undeniable. His lyrical quality, emotional depth, and imaginative power resonated with Surrealists and other movements that embraced fantasy and symbolism. He bridged the gap between European modernism and Jewish cultural identity, becoming known as “the quintessential Jewish artist of the twentieth century.” His ability to synthesize personal experience, folklore, and universal themes continues to resonate with audiences worldwide. His work reminds us of the power of art to transcend boundaries, to connect us to our shared humanity, and to illuminate the beauty and mystery of life.

    A Lasting Impression

    Marc Chagall’s legacy extends beyond his paintings and stained glass; it resides in the enduring power of his vision—a vision that celebrates love, memory, and the boundless possibilities of the human imagination. He left behind a body of work that is both deeply personal and universally accessible, inviting viewers to lose themselves in a world painted with dreams and illuminated by hope. The Musée Marc Chagall in Nice stands as a testament to his enduring influence, housing an extensive collection of his works and offering visitors a glimpse into the heart and soul of this extraordinary artist. His art continues to inspire, challenge, and move us, ensuring that his vibrant and imaginative spirit will live on for generations to come.

    Where to read more

    Find this online

    QR code linking to the download page for The Drunkard

    artsdot.com/en/art/download/marc-chagall-the-drunkard-8XYGLP-en/

    Cite this artwork

    MLA
    Chagall, Marc. The Drunkard. 1912, https://artsdot.com/en/art/marc-chagall-the-drunkard-8XYGLP-en/
    APA
    Chagall, Marc (1912). The Drunkard [Painting]. https://artsdot.com/en/art/marc-chagall-the-drunkard-8XYGLP-en/
    Chicago
    Marc Chagall. The Drunkard. 1912. https://artsdot.com/en/art/marc-chagall-the-drunkard-8XYGLP-en/
    Harvard
    Chagall, Marc (1912) The Drunkard. Available at: https://artsdot.com/en/art/marc-chagall-the-drunkard-8XYGLP-en/

    Look closely

    The Drunkard — Marc Chagall

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: drunkenness, chagall, wine bottle. Do you agree? What would you add, or take away?
    4. Look back at I and the Village (1911), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Marc Chagall was about 25 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    In which year and which movement was "The Drunkard" made?

    "The Drunkard" by Marc Chagall is dated 1912 and belongs to Expressionist Fantasy.

    Which room is "The Drunkard" by Marc Chagall recommended for, given its colors?

    The earthy colors of "The Drunkard" by Marc Chagall match its recommended space: a living room.

    Is "The Drunkard" by Marc Chagall in the public domain, and why?

    "The Drunkard" by Marc Chagall is still protected by copyright. Copyright duration runs from the artist's death, which occurred in 1985.