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Chagall returned to Vitebsk in 1914 as the First World War broke out and was appointed provincial Commissar for Fine Art, whilst in the role he developed ambitious projects for the local academy. Between the years of 1914 and 1923 Chagall travelled extensively, leaving Vitebsk for Moscow, where he worked in the Jewish theatre. Following this he travelled to Berlin, where he studied the technique of engraving, before returning to Paris.
In Paris he illustrated Gogol’s Dead Souls, La Fontaine’s Fables and the Bible for the publisher Ambrose Vollard. His emblematic irrationality shook off all outside influences including the Surrealists; which Breton so desperately wanted him to be part of. It was colour that governed his compositions, ones, which conjure up mythological representations of his memories, where reality and the imaginary are woven into a single image. Chagall also experimented with ceramics, sculpture and stained glass. Commissions included the Assy baptistery in 1957, the cathedrals of Metz (1960) and Rheims (1974), the Hebrew University Medical Centre Synagogue in Jerusalem (1960) and most famously, the ceiling of the Paris Opera (1963).