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Durante su primera estadía en París (1910-1914), el pintor ruso Marc Chagall conoció, principalmente en el museo del Louvre, a los maestros de la pintura occidental, tal como registró en Mi vida, su autobiografía.El caso aquí estudiado, la influencia del artista italiano Paolo Caliari en el trabajo del ruso, revela que aunque la historiografía ha pasado por alto las citas a artistas presentes en Mi vida, su lectura a la luz del concepto de tradición de Ernst Gombrich demuestra la importancia que el ruso le otorgó a las obras que conoció en la capital francesa, proponiendo una visión alternativa a la idea de artista rebelde y vanguardista que durante el siglo XX se elaboró en torno a la figura de Chagall.During his first period in Paris (1910-1914), the russian painter Marc Chagall met, most of all at the Louvre Museum, the masters of western painting, as he wrote in “My life”, his autobiography.The case in study, which is the influence of the artist Paolo Caliari in the artwork of the russian painter, reveals the fact that even though historiography has overlooked the quotes of artists present in ‘My life’, it’s interpretation under the concept of tradition of Ernst Gombrich shows the relevance that the russian gave to the artworks he met at the french capital, proposing an alternative vision to the idea of the rebel and vanguardist artist that was created around Chagall’s figure in the twentieth century

arte, individuo y sociedad

Diálogo de óleos: propuesta comparativa entre el Autorretrato en verde de Marc Chagall y el Retrato con mujer, niño y perro (Isabella Guerrieri Gonzaga Canossa) de El Veronés