Chagall found its way to Paris as cubism made its emphatic general public first on 1911 Salon des Indépendants, provoking frenzied intellectual discussion inside the town’s avant-garde artistic sectors. Several of his paintings with this duration are informed stylistically because of the principles of cubism – tenets that he rendered uncertain through his using a fauvist-inspired colour sensibility. As Chagall had no ties toward ideology behind cubism, he thought liberated to assemble a mix of its constituent parts, to take its concept of fragmentation and apply it to his or her own profoundly thought realms.
Chagall attended a few art academies during their first 12 months in Paris, where in fact the accessibility to life models enabled his experimentation with various stylistic treatments associated with the nude figure, which range from expressionism to cubism. Given that it absolutely was strange during those times for a Jewish artist to create nude life scientific studies, these works indicate Chagall’s willing embrace of this novel Parisian tradition.
Chagall made a decision to continue to be reasonably isolated from their fellow artists, preferring the business of authors and poets. He became particularly near to Guillaume Apollinaire and Blaise Cendrars; the latter chose the titles for many of their key paintings including Half-Past Three (The Poet) 1911. This big painting has distinctly cubist inclinations, undercut by a non-naturalistic colour pallette and layers of literary references. It shows the efficiency of Chagall’s encounter with cubism.