Marc Chagall
Naomi and her daughters-in-law, 1960, Lithograph, 525 x 380 mm, Musée National Marc Chagall, Nice; MBMC429, ©️ RMN-Grand Palais / Art Resource, NY
Solace
Commentary by Heather Macumber
This sepia-toned lithograph is one of five scenes from the book of Ruth featured in Marc Chagall’s Drawings for the Bible. A similar colour scheme of muted browns and reds marks Chagall’s treatment of other episodes from the book, which were first published by Verve in 1960.
The vegetation in the background along with the unidentified animal in the foreground potentially allude to the security found in Moab compared with the famine left behind in Bethlehem. In the upper right corner, the hot red sun stands out prominently by contrast with the subdued tones of the composition. Conversely, the lack of any building in the background which might be their home may indicate that this is a wilderness location, and that they have already begun their difficult journey from Moab to Bethlehem (Ruth 1:6–7).
It is noteworthy that Chagall positions all three women centrally—merged in an emotional embrace—rather than simply focusing on Ruth and Naomi. This posture is reminiscent of the iconography of the Three Graces (a famous example being Antonio Canova’s 1814 sculpture in which they are likewise mutually entwined). The younger women surround Naomi, actively holding her, while Naomi’s arms are clasped in front of her body. Chagall does not differentiate between Ruth and Orpah, echoing the way that the biblical text initially treats the daughters-in-law as an indistinguishable pair. Both women are united in their desire to journey with Naomi, weeping and raising their voices (Ruth 1:10).
Although some early Jewish and Christian interpreters maligned Orpah’s choice to return to her family of origin, there is no judgement or shame accorded to her in the biblical text as she (unlike Ruth) obeys Naomi her elder (Koosed 2011: 35–36; Lau 2023: 97–98). Laura Donaldson notes that Cherokee women see in Orpah a hopeful figure who by returning to Moab chooses the house of her mother, positively embracing her traditions and ancestors (Donaldson 2006: 167). Similarly, Chagall in his five scenes from the book of Ruth, diverges from other artists by omitting Orpah’s departure and highlighting a moment of intimacy between women struggling with grief and loss (O’Kane 2010: 144).
References
Donaldson, Laura E. 2006. ‘The Sign of Orpah: Reading Ruth through Native Eyes’, in The Postcolonial Biblical Reader, ed. by R.S. Sugirtharajah (Malden: Blackwell Publishing), pp. 159–70
Koosed, Jennifer L. 2011. Gleaning Ruth: A Biblical Heroine and her Afterlives (Columbia: University of South Carolina Press)
Lau, Peter H. W. 2023. The Book of Ruth, The New International Commentary on the Old Testament (Grand Rapids: Eerdmans)
O’Kane, Martin. 2010. ‘The Iconography of the Book of Ruth’, Interpretation, 64.2: 130–45