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The image of the bride is found more than once in the canvases of Marc Chagall. However， the work La Mariée （gouache， pastel， 68 cm × 53 cm， 1950） stands out from the general series—his wife， Belle Rosenfeld， has long been dead， and this is not an ode to love and tenderness. The picture combines both features inherent in the artist’s style， familiar and recognizable， and innovative ideas.
First of all， the innovations concern the choice of the color palette—a blue-gray background with a set of symbolic and fantastic images， in the foreground of which the bride stands. She has a red dress and a white veil to the floor， and in her hands a green branch of flowers—the girl seems to come out of the canvas， rushing to the viewer. One critic once remarked that looking at this picture， it seems that the girl’s attentive gaze of small eyes is aimed at you. The composition of the painting is “collected” from various national Jewish leitmotifs—a goat playing the cello， a musician-flutist， a girl with pigtails.
The artist also saturates the space of the canvas with symbols， such as a fish holding a candle with the armlike fin， a rooster under the cello， and， of course， a church that cannot be seen right away. A bright bride is surrounded by a man’s attention—he either lovingly embraces the girl， or carefully adjusts the veil on her head. The image of the girl turned out to be somehow fantastic and unreal. Not surprisingly， many interpret this work as an attempt to express longing for what he has long lost.
La Mariée is a marvellous metaphor of the world which surrounds the painter and his beliefs. The painting depicts the intermingling of the real as well as the imaginary world. The use of vivid colors and wild imagination brings life to the painting.
An interesting fact： the picture La Mariée can be seen on the poster in the apartment of the main character in the movie Notting Hill with Julia Roberts and Hugh Grant. This was due to the fact that the writer of the famous film is a big fan of Chagall and could not miss the opportunity to “quote” him in one of the scenes.
The original painting is held in a private collection.
馬克·夏加尔的画作中不止一次出现过新娘的形象。然而，这幅《新娘》（水粉淡彩画，68厘米×53厘米，1950年）与一般的系列有所不同——爱妻贝拉·罗森菲尔德去世已久，所以此画并非爱与柔情的颂歌。此画既有夏加尔画风中为人熟知和标志性的固有特点，也包含了一些创新理念。
首先，色彩的选择有所创新：背景蓝灰色，包含一组具有象征意义的奇幻意象;前景是站立的新娘，一袭红裙，垂地白纱，手握一束绿色花枝——女孩似乎欲从画中走出，冲向观画者。一位评论家曾评论说，看着这幅画，会感觉那女孩不大的双眼似乎在专注地凝视你。此画的构图元素“集”自犹太民族的各种主题：一只拉大提琴的山羊、一位吹长笛的音乐家和一个扎着辫子的女孩。
夏加尔还在画面上填充了种种象征意象，比如用臂状鳍举着蜡烛的鱼、大提琴下的公鸡，当然，还有一座不太起眼的教堂。一个男子关注着光彩照人的新娘——他或许是在亲切地拥抱女孩，或许是在小心地帮女孩调整头纱。不知怎么，女孩的形象终究有些奇异和虚幻。不出所料，很多人将这幅作品解读为画家试图表达对长久失去之物的渴望。
《新娘》一画巧妙隐喻了画家所处的世界和他的信念。该画描绘的是现实与虚构世界交融的情景。生动的色彩和丰富的想象赋予此画勃勃生机。
一件趣事：朱莉娅·罗伯茨和休·格兰特主演的经典影片《诺丁山》中，这幅《新娘》就出现在主角公寓里贴的海报上。这是因为该片编剧是夏加尔的超级粉丝，他忍不住制造机会在某个场景中让偶像“露脸”。
原画现为私人收藏。
First of all， the innovations concern the choice of the color palette—a blue-gray background with a set of symbolic and fantastic images， in the foreground of which the bride stands. She has a red dress and a white veil to the floor， and in her hands a green branch of flowers—the girl seems to come out of the canvas， rushing to the viewer. One critic once remarked that looking at this picture， it seems that the girl’s attentive gaze of small eyes is aimed at you. The composition of the painting is “collected” from various national Jewish leitmotifs—a goat playing the cello， a musician-flutist， a girl with pigtails.
The artist also saturates the space of the canvas with symbols， such as a fish holding a candle with the armlike fin， a rooster under the cello， and， of course， a church that cannot be seen right away. A bright bride is surrounded by a man’s attention—he either lovingly embraces the girl， or carefully adjusts the veil on her head. The image of the girl turned out to be somehow fantastic and unreal. Not surprisingly， many interpret this work as an attempt to express longing for what he has long lost.
La Mariée is a marvellous metaphor of the world which surrounds the painter and his beliefs. The painting depicts the intermingling of the real as well as the imaginary world. The use of vivid colors and wild imagination brings life to the painting.
An interesting fact： the picture La Mariée can be seen on the poster in the apartment of the main character in the movie Notting Hill with Julia Roberts and Hugh Grant. This was due to the fact that the writer of the famous film is a big fan of Chagall and could not miss the opportunity to “quote” him in one of the scenes.
The original painting is held in a private collection.
馬克·夏加尔的画作中不止一次出现过新娘的形象。然而，这幅《新娘》（水粉淡彩画，68厘米×53厘米，1950年）与一般的系列有所不同——爱妻贝拉·罗森菲尔德去世已久，所以此画并非爱与柔情的颂歌。此画既有夏加尔画风中为人熟知和标志性的固有特点，也包含了一些创新理念。
首先，色彩的选择有所创新：背景蓝灰色，包含一组具有象征意义的奇幻意象;前景是站立的新娘，一袭红裙，垂地白纱，手握一束绿色花枝——女孩似乎欲从画中走出，冲向观画者。一位评论家曾评论说，看着这幅画，会感觉那女孩不大的双眼似乎在专注地凝视你。此画的构图元素“集”自犹太民族的各种主题：一只拉大提琴的山羊、一位吹长笛的音乐家和一个扎着辫子的女孩。
夏加尔还在画面上填充了种种象征意象，比如用臂状鳍举着蜡烛的鱼、大提琴下的公鸡，当然，还有一座不太起眼的教堂。一个男子关注着光彩照人的新娘——他或许是在亲切地拥抱女孩，或许是在小心地帮女孩调整头纱。不知怎么，女孩的形象终究有些奇异和虚幻。不出所料，很多人将这幅作品解读为画家试图表达对长久失去之物的渴望。
《新娘》一画巧妙隐喻了画家所处的世界和他的信念。该画描绘的是现实与虚构世界交融的情景。生动的色彩和丰富的想象赋予此画勃勃生机。
一件趣事：朱莉娅·罗伯茨和休·格兰特主演的经典影片《诺丁山》中，这幅《新娘》就出现在主角公寓里贴的海报上。这是因为该片编剧是夏加尔的超级粉丝，他忍不住制造机会在某个场景中让偶像“露脸”。
原画现为私人收藏。