You might think that a guy with a well-established penchant for blurting out things that brought the world down on his head would want to maintain minimum safe distance from a medium that at times seems to exist primarily to lull smart people into committing public acts of stupidity.

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Those conditions came happily together in Chagall's wonder years of 1911-17: new idioms in art, the persistence of Hasidic life in the shtetl, and an artist who found distance enough to reconfigure that life in the universal medium of paint.

ECONOMIST: Marc Chagall