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© Marc Chagall, Artists Rights Society (ARS), New York,

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ISBN: 978-1-78160-587-5
Marc

Chagall

## 1. Kermis (Village Fair) (1908).

Oil on canvas, 68 x 95 cm,

Collection Wright Judington, Santa Barbara, California.
Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. If one is unaware of the nature of traditional Jewish education one can hardly imagine the transgressive force, the fever of being which propelled the young Chagall when he flung himself on the journal _Niva_ (Field) to copy from it a portrait of the composer Rubinstein. This education was based on the historic law of Divine Election and covered the religious side of life only. The transmission to the very core of the Jewish hearth was essentially effected through oral means. Each Jewish house is a place made holy by the liturgy of the word. The Chagall family belonged to the Hassidic tradition: we should emphasize here that this form of piety - _Hassid_ means devout - gives preference to direct contact between the individual and God. The dialogue which is thus set up between the faithful and Yahweh exists without the mediation of rabbinical pomp and display. It is born directly from everyday ritual and is expressed in the exercise of personal liberty. Hassidism lies outside the scholarly Talmudic culture, the institutional commentary of the synagogue. It was historically found in rural Russian and Polish communities, communities based on the original fundamental nucleus of Jewish society which is, of course, the family.

Chagall's father, Zakhar, was a pickler at a herring merchant's. Sensitive, secretive, taciturn, the figure of Zakhar seems to have had the tragic dimension inherent in the destiny of the Jewish people. "Everything in my father seemed to me to be enigma and sadness. An inaccessible image", Chagall wrote in _My Life_. On the other hand, his mother, Feyga-Ita, the eldest daughter of a butcher from Liozno, radiated vital energy. The psychological antithesis of their characters can be seen in Chagall's very first sketches and in his series of etchings produced for Paul Cassirer in Berlin in 1923 which were intended to illustrate _My Life_. This antithesis, so strongly felt by Chagall, embodies the age-old experience of the whole of Jewish existence: his father and mother, in the artist's paintings, in the very heart of the plastic space of the picture or drawing, bring into play not only the specific reality of a memory but also the two contradictory aspects which form Jewish genius and its history - resignation to fate in the acceptance of the will of God, and creative energy bearing hope, in the unshakeable sense of Divine Election.

Marc had one brother and seven sisters: David, of whom he produced some moving portraits but who died in the flower of youth; Anna (Aniuta), Zina, the twins Lisa and Mania, Rosa, Marussia and Rachel, who also died young. If family life was difficult, it was not miserable. It was part of the life of the stedtl, that specifically Jewish cultural reality connected to the social structure of the ghetto. In Vitebsk this reality fitted into the structure of rural Russian life.

In the late nineteenth century Vitebsk was still a small town in Byelorussia, situated at the confluence of two waterways, the Dvina and the Vitba. Its economy was expanding greatly, but despite the arrival of the railway, the station, small industries and the river port, the town still retained the characteristics of a large rural village. While the numerous churches and the Orthodox cathedral gave it a more urban appearance, most of the houses were still of wood and the streets, frozen in winter, running with water in spring, were not yet paved. Each house, evidence of an economic unity founded on a traditional domestic way of life, had its little garden and poultry-yard. With their wooden fences and multi-coloured decoration the houses of Vitebsk live on eternally in Chagall's pictures.

It was from this childhood experience that the pictorial schemes of Chagall's plastic vocabulary originate. But the fragments of memory, which we easily identify in concrete objects even in the very first works - the room, the clock, the lamp, the samovar, the sabbath table, the village street, the house of his birth and its roof, Vitebsk recognizable through the domes of its cathedral - did not crystallize into clearly defined images until after the passage of many years. It was only in obeying his calling "Mummy... I would like to be a painter[1]", that is to say in tearing himself away from his family and social milieu, that Chagall could evolve his own pictorial language.

Chagall succeeded in persuading his mother to enrol him in the school of drawing and painting of the artist Pen. But the methods of training and the laborious copying exercises soon ceased to satisfy the young Chagall. That which he was still seeking confusedly, that which he barely touched upon in his first daring colouristic experiments, had nothing in common with the academic tradition to which Pen adhered. The painting which Chagall was carrying within himself was poles apart from that representative realism which Pen inherited from the Wanderers. Rebelling against all teaching, from 1907 Chagall began to show a precocious capacity for invention - did he not use the colour violet in a way which defied all known laws? - the autodidactic quality which is the mark of true creative spirits. The painter's destiny worked itself out in the image of some hero of the great fundamental myths which make up the collective subconscious.

## 2. Self-Portrait (1909).

Oil on canvas, 57 x 48 cm,

Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

## 3. The Artist's Sister (Mania) (1909).

Oil on canvas, 93 x 48 cm,

Wallraf-Richartz Museum, Cologne.

## 4. My Fiancée in Black Gloves (1909).

Oil on canvas, 88 x 65 cm, Kunstmuseum, Basle.

## 5. Sabbath (1910).

Oil on canvas, 90 x 98 cm,

Wallraf-Richartz Museum, Cologne.

## 6. Dedicated to my Fiancée (1911).

Oil on canvas, 196 x 114.5 cm,

Kunstmuseum, Bern.

## 7. The Wedding (1910).

Oil on canvas, 98 x 188 cm,

Collection of the artist's family, France.
It was a destiny shaped through trials, of which the most decisive was tearing himself away from the place of his birth. In 1907, accompanied by his friend Viktor Mekler, Chagall left Vitebsk - one of the main symbolic images in his later work for St Petersburg.

His departure for St Petersburg gives rise to several questions. Chagall could in fact have wished to pursue his artistic quest, which was only just beginning, in Moscow. The choice of St Petersburg is of particular significance.

Chagall was conforming above all - without being aware of it - to a tradition stemming from the Renaissance, a tradition which makes travel one of the principal means of any apprenticeship. Whilst painting is also a craft - despite the romantic revolts, the status of the artist at the dawn of the twentieth century was still not that far from the craftsman's status it had in the fifteenth century - the social recognition of this status was inevitably dependent on academic training. St Petersburg, among other things, was the intellectual and artistic centre of imperial Russia. Much more than continental Moscow, it was a city whose own history was always characterized by an openness towards Western Europe. Through its architecture, its urbanity, its schools and salons, it dispensed a formal and spiritual nourishment which was to enrich the young provincial. Chagall's keen gaze sought the least reflections of the transparent light of the North on the surface of the city's canals. He came to seek St Petersburg's excellence. His failure in the entrance examination for the Stieglitz School did not stop him from later joining that founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich.

Nicholas Roerich (1874-1947) had taken part in the production of the journal _Mir Iskusstva_ ( _The World of Art_ ), founded in 1898 by Alexander Benois and run until 1904 by Serge Diaghilev. The journal and the artists grouped around it played a decisive role in the general aesthetic debate with which Russia was preoccupied during the first decade of the twentieth century. Its emblem, a northern eagle drawn by Bakst, formally synthesized the objectives they pursued: to create a new art, original because it drew on Russian heritage, but open to the influence of the West, capable of thus bringing about, in a country which had never known such a thing in its history, a veritable Renaissance. _The World of Art_ preached the doctrine of art for art's sake.

Like _The World of Art_ , _The Golden Fleece_ , which ceased to appear in 1909, contributed to the artistic life of the period in question. It made known to the wider public individuals as diverse as Benois, Bakst (meeting with whom played an important role in Chagall's life), Roerich, Golovin, Dobuzhinsky, Larionov, Goncharova...

## 8. From the Moon (The Russian Village).

Oil on canvas, 126 x 104 cm, Neue Pinakothek, Munich.

## 9. The Violonist (1911).

Oil on canvas, 94.5 x 69.5 cm,

Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

## 10. Self-Portrait with Seven Fingers (1911).

Oil on canvas, 128 x 107 cm, Royal Collection, The Hague.

## 11. The Poet (Half Past Three) (1911).

Oil on canvas, 197 x 146 cm,

Philadelphia Museum of Art, Philadelphia.

## 12. I and the Village (1911).

Oil on canvas, 191.8 x 150.5 cm,

Museum of Modern Art, New York.

## 13. Birth of a Child (1911).

Oil on canvas, 65 x 89.5 cm,

Collection of the artist's family, France.

## 14. Hommage à Apollinaire (1912).

Oil on canvas, 109 x 198 cm,

Stedelijk Museum, Amsterdam.

## 15. To Russia, Asses and Others (1911-1912).

Oil on canvas, 156 x 122 cm,

Musée national d'art moderne, Centre Georges-Pompidou, Paris.

## 16. The Drunk (The Drinker) (1911-1912).

Oil on canvas, 85 x 115 cm,

Private Collection.
_The Golden Fleece_ called on Russian artists to create works contemporary in spirit, and as a consequence contributed to the reflection on the idea of modernity which we know was decisive for the evolution of art.

There is no doubt that in St Petersburg Chagall became aware of the reverberations of the many controversies which were stirring in the realm of painting. However, the teaching of Roerich, little different from that offered by Pen, disappointed him, and the study exercise of copying seemed to him to be a waste of time. "Two years lost in this school", he wrote with bitterness. Two years which allowed him, however, to meet his first patron and collector, the lawyer Goldberg, whose _Drawing Room_ and _Study_ (1908) he depicted, and above all his future protector, the influential deputy in the Duma, Maxim Vinaver. Chagall frequented the intellectual Jewish circles which revolved around Vinaver and which aimed to revive, with the writer Pozner, the critic Sirkin, and Leopold Sev, Vinaver's brother-in-law, the Jewish journal _Voskhod_ ( _Renewal_ ), published in Russian. The participation of the Jewish intelligentsia in the major artistic debate of the time is incontestable. The growing awareness of a specific Jewish cultural identity did not for all that exclude - rather the opposite - the desire to give it a new dimension of national and international universality. _Voskhod_ was the instrument of this action.

Vinaver and Sev were to open the doors of the famous Zvantseva school for Chagall. This private school had been founded by a rich woman, herself a painter, Yelizaveta Nikolayevna Zvantseva, who, after a stay in Paris, decided to develop a new kind of teaching capable of giving young Russian artists the technical means to develop a totally contemporary form of expression, which they lacked. In St Petersburg Zvantseva summoned those who were considered to be the greatest artists of the time, Mstislav Dobuzhinsky and, above all, Léon (Lev) Bakst. Bakst had acquired international renown in particular through his collaboration with Diaghilev. An elegant portraitist, he also worked in the sphere of the decorative arts, illustrated books, and above all created brilliant costume and set designs for the theatre and the ballet.

Thus he worked for Diaghilev and his stars, Fokine, Pavlova, Karsavina and Nijinsky. His reputation was outstanding. Chagall knew this and was profoundly impressed by it, even though Bakst, this European, was, like him, Chagall, a Jew. For Chagall, to enter the Zvantseva school, to approach Bakst, was a mark of privilege. Here, close to one of his own, he prepared himself to find that other reality which he was pursuing, which he carried within him, and which he sought to objectivize solely by means of painting. In the freedom of the teaching dispensed by Bakst, bit by bit Chagall elaborated his language, achieved the spatial mastery of colour, and gradually found his style.

He was not influenced by Bakst's Symbolist aesthetic, his decorative mannerism. On the other hand he rapidly mastered one of the painter's demands, which was "the art of juxtaposing contrasting colours whilst balancing their reciprocal influence...[2]"

This can be seen in _The Small Parlour_ , dated 1908, executed at the beginning of his period of study with Bakst. On a freely painted delicate rose-coloured background the arabesques of objects - chairs, table, and flower vase - are drawn in brown. The light forms seem to dance within an airy space which is devoid of any illusion of perspective. Depth, without being described, is suggested by the use of a light green which hollows out the ground. In the foreground the double curvature of the back of a chair and the broken angle of a table seem to set the whole space in motion in the manner of certain pastels by Degas. In this work Chagall has also revealed his colouristic skill. The virtuoso audacity of the composition manifests an ease which holds undivided sway in this picture, executed at Liozno, during a visit to the artist's grandfather. Chagall in fact often visited his relatives; he painted his brother and sisters, his parents, and everyday scenes in the desire to sharpen his vision, to make it more refined. He painted Vitebsk, its streets and its wooden houses; Vitebsk, his childhood town and later an emblematic symbol of the land of his birth.

In the autumn of 1909 through Thea Brachman, a friend who had once posed for him, Chagall met his future wife, Bella Rosenfeld. An unforgettable meeting, related by both in their memoirs: "Suddenly I realized that it was not with Thea that I should be but with her! Her silence is mine. Her eyes, mine; it was as if she had known me for a long time, as if she knew my whole childhood, my present, my future; as if she were watching over me, looking closer into me, although I saw her for the first time. I felt that this was my wife [3]", relates Chagall in _My Life_. And in _Lumi_ _è_ _res allum_ _é_ _es,_ Bella replies: "I dare not lift my eyes and meet the boy's look. His eyes are now grayish green, sky and water. Is it in these eyes or in a river that I am swimming[4]..."

_My Fianc_ _é_ _e in Black Gloves_ (1909) is evidence of the confusion they felt. The work was the first in a long series of portraits of Bella and belongs with his family portraits, of David, of Mania, of Aniuta, but yet it is distinguished from them by its air of grave solemnity. _My Fianc_ _é_ _e in Black Gloves_ and later _Bella with a White Collar_ (1917) are true portraits in their acute observation of the physical and psychological verity of the sitter. But the sitter is not the prisoner of her own individuality. The image of the beloved woman, the image of the love which she arouses, Bella takes on the universal dimension of a type. The picture is in this sense an icon.

## 17. Golgotha (1912).

Oil on canvas, 174 x 191.1 cm,

The Museum of Modern Art, New York.
Its function is not representative but demonstrative. It has hidden meaning.

From 1909, Chagall was concerned with the major question of creativity - that of the very status of painting - which practice forced upon him. A means of representing the visible, was painting only the illusionist replication of the material world? Should it not on the contrary be the privileged mode of exploring beyond the appearances which make up perceptible reality? Should it not be, like poetry, one of the means of revealing being? In _The Self-portrait_ (1909) the attentive viewer will find more than a few traits of Marc Chagall's eventual artistic system, which was at that very time taking shape. Here we see the volatility of figures, seemingly ready to become weightless and fly through the air, and the exultant, sluggish play of blue Chagallian hues - intense in the clothes, dissolving in the sky (is it not from here that this sense of weightlessness, of soaring, derives?) and melting in the infinitely sad and slightly playful eyes; here we see the painful sadness of the serene smile, the golden-pink brushstrokes in the background, and the suppressed sense of celebration which there always is in life, if you are only able to find it.

The historical circumstances surrounding Chagall's departure for Paris are now well known. The lawyer Vinaver, his protector and first patron, gave him a grant in exchange for a canvas, _The Wedding_ (1910), and a drawing. The grant, 125 francs, had to enable the young man to stay abroad for four years. A man who espoused a humanist culture, Vinaver hoped that Chagall would leave for Rome, but he opted instead for Paris. The artistic radiance of the French capital was indisputable, and Chagall was not mistaken: Paris was to be his "second Vitebsk". At first isolated in the little room on the Impasse du Maine, at La Ruche Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, who were to maintain the smell of his native land around the young painter. From his very arrival Chagall wanted to "discover everything". And to his dazzled eyes painting did indeed reveal itself. First of all, painting in the museums. In the Louvre he discovered Chardin, Fouquet, Rembrandt: "It was as if the gods were standing before me.[5]"

Painting of which he had dreamed in Vitebsk or St Petersburg, the painting of eternity, where the eternity of painting could be read. Then the art which was closer to Chagall, that of Courbet, Manet, Monet, the first revolutionaries in the way of looking. The whole historical dimension, the whole aesthetic and cultural dimension of the history of painting was unveiled before Chagall.

## 18. The Cattle Dealer (1912).

Oil on canvas, 96 x 200 cm, Kunstmuseum, Basle.

## 19. The Soldier Drinks (1912).

Oil on canvas, 110.3 x 95 cm,

Guggenheim Museum, New York.

## 20. Soldiers (1912).

Gouache on cardboard, 38.1 x 31.7 cm, Private Collection.
Of course Paris also added new themes and new plastic ideas to Chagall's art. The artist not only looked at paintings but got to know people. Talented people were drawn to him, sensing in him a true colleague; thus he became friends with Guillaume Apollinaire, Max Jacob and Blaise Cendrars. Apollinaire was the first to mention Chagall's name in print, in 1911, when the artist exhibited at the Salon des Indépendants. Apollinaire's sharp-edged verses, often blending into type-set hieroglyphic drawings (calligrams), were for the artist a school of clarity and creative courage, a lesson in the daring logic of twentieth-century thought. This found reflection in the famous picture _Hommage_ _à_ _Apollinaire_ (1911-1912), in which the figures of a man and a woman form a single whole, both divided and united by Time which is embodied in a slowly revolving circle recalling both the face of a huge clock and the heavenly sphere seen by the alarmed gaze of a twentieth century astrologist.

This decisive apprenticeship in a way of looking was reinforced in some of the studio exercises at La Grande Chaumiere and La Palette, run by Le Fauconnier (whose wife was Russian). But the true formal nourishment for Chagall was to be, according to his own statements, Paris itself; Paris and that extraordinary "Light-Liberty" through which he fulfilled himself as a painter.

From this first Parisian period great masterpieces blossomed forth: _To Russia_ , _Asses and Others_ (1911-1912), _Land the Village_ (1911), _The Holy Carter_ (1911-1912), _Hommage_ _à_ _Apollinaire_ (1911-1912), and _Self-portrait with Seven Fingers_ (1911). For only now can we fully picture what it meant to paint in Paris this fairytale image of an eternally sorrowful violinist drawn from his childhood recollections; in Paris, crammed with contemporary art and classical art and arguments about the future of art; in Paris, already full of artistic manifestoes, satiated with both elegant and shocking works; in Paris, which had already tasted the aggression of Cubism, the impetuous colour of the Fauves, the Saisons de Diaghilev and the first experiments of the Constructivists.

The first critics, writing about Chagall in the 1920s, correctly noted that Paris gave his painting its own particular nuance, a fragile nervousness and certainty of line, which now began to firmly and precisely resonate the colour, and in many ways to govern it. And the areas of colour, taking on a clarity of outline and, consequently, another level of expression, free themselves from approximation, pouring out with new, disturbing power.

## 21. The Violonist (1912-1913).

Oil on canvas, 184 x 148.5 cm,

Royal Collection, The Hague.

## 22. Maternity (Pregnant Woman) (1913).

Oil on canvas, 194 x 115 cm,

Stedelijk Museum, Amsterdam.

## 23. Self-Portrait with White Collar (1914).

Oil on cardboard, 29,9 x 25,7 cm,

Philadelphia Museum of Art, The Louis E. Stern Collection, Philadelphia.

## 24. Paris through the Window (1913).

Oil on canvas, 132.7 x 139.2 cm,

Guggenheim Museum, New York.

## 25. Portrait of the Artist's Sister, Maryasinka (1914).

Oil on cardboard, 51 x 36 cm,

Private Collection, St Petersburg.

## 26. Father (1914).

Tempera on paper mounted on cardboard, 49.4 x 36.8 cm,

Russian Museum, St Petersburg.

## 27. The Newspaper Vendor (1914).

Oil on canvas, 98 x 78.5 cm, Collection Ida Chagall, Paris.
Chagall's palette took on a certain refinement, without losing any of its essential qualities; the emotional and conceptual structures became even richer and more unified, his Paris lessons clearly showing through the highly colourful, fervent fantasy.

It suffices to compare _Birth of a Child_ (1911) with the above-mentioned _Birth_ (1910). The Paris picture, unlike that painted in Vitebsk, shows the unity of subject, space and genre; there is no complex link between arrested eternity and an everyday scene, or in any case this link is barely perceptible. Here we should note how from picture to picture the objects in Chagall's works are filled with different, metaphorical meaning whilst touchingly preserving their everyday authenticity.

The frenzy of painting which animated Chagall justifies the terms which, later, the poet André Breton employed to describe it in _Gen_ _è_ _se et perspective artistiques du surr_ _é_ _alisme_ (1941): "The total lyrical explosion dates from 1911. It is from this moment that metaphor, with him alone, marks its triumphant entry into modern painting.[6]" This pictorial fulguration which found the path of self-expression was indeed a total lyrical explosion. How could one not be surprised by the miracle of Chagall's painting between 1911 and 1914? How could one not marvel at the obstinate coherence of a creator who mastered the lessons of Fauvism and Cubism only in order to liberate himself from them even more?

Chagall already knew intuitively that colour in its extremes is the bearer of physically tangible values. He had to raise its radiance to the limit, to use its rare sonority. The painter was indebted to the Fauvists, Van Gogh, Gauguin and Matisse, whose works he saw at Bernheim's, for his encounter with absolute colour. To Cézanne and the Cubists he owed the geometric framework of his paintings between 1911 and 1914 and the elements of his plastic grammar. But his individuality resisted all theoretic limits.

"Let them eat their square pears on their triangular tables " he cried vehemently, speaking of the Cubists. A true creator, Chagall borrowed from Cubism only that which served his personal vision. Painting, for this artistic rebel, was above all the flight of the imagination.

The thematic repertory of the works executed between 1911 and 1914 is significant in this regard. Russian subjects mix with those of the ghetto, family figures with those of the village community: _The Wedding_ (1910), _Sabbath_ (1910), _Grandfather_ (1910), _Around the Lamp_ (1910), _Birth of a Child_ (1911), a theme already treated in 1910, _The Village under the Moon_ (1911), _Dedicated to my Fianc_ _é_ _e_ (1911), _Praying Jew_ (1912-1913), _The Cattle Dealer_ (1912), _Maternity_ (or the Pregnant Woman; 1913), _To Russia, Asses and Others_ (1911-1912) - they all speak of his sadness, of a nostalgia for the land of his birth.

## 28. The Barbershop (1914).

Gouache and oil on paper, 49.3 x 37.2 cm,

The State Tretyakov Gallery, Moscow.

## 29. Chemist's Shop in Vitebsk (1914).

Gouache, tempera, watercolour and oil on paper mounted on cardboard,

40 x 52.4 cm, Collection Valery Dudakov, Moscow.

## 30. Over Vitebsk (1914).

Oil on paper, 73 x 92.5 cm,

Collection Ayala and Sam Zacks, Toronto.

## 31. Feast Day or Rabbi with a Lemon (1914).

Oil on canvas, 100 x 80.5 cm, Rosengart Gallery, Lucerne.

## 32. Jew in Green (1914).

Oil on cardboard, 100 x 80 cm,

Collection Charles im Obersteg, Geneva.
The time has come to speak about what is thought to be Chagall's central work from this post-Parisian period. _About the Mirror_ (1915).

"...It's a strange thing - a mirror: a frame, like an ordinary picture, and at the same time in it you can see hundreds of different pictures, both very alive and yet instantaneously disappearing for ever", wrote Chesterton. Could Marc Chagall avoid this motif, he who so intently studied the primordial conceptions of life - Time and Space?

The mirror, extending and broadening the world, is able to shake and change it; the mirror, creating the "double" of the visible and, like any reflection, seeming to enter into an argument with time; the mirror, in which the ordinary world can suddenly - frighteningly and gaily - appear to be foreshortened in strange ways. It attracted Chagall, delighted him and troubled him.

In _The Mirror_ we see the meeting between the earlier impressions of Vitebsk, unforgotten but now approached with new penetration, Chagall's Parisian lessons and all the eternal questions - the essence of Time and Space, of the relationship between the small and the great. The work also retains the untroubled child-like perception of happiness and sadness through the prism of myth - at once elevatedly ritualistic and naive. Here everything is material, ordinary and at the same time fantastic. For everything in the picture is created from the substance of art, in other words, the onlooker sees not a counterfeit object, not its illusion, but plastic formulas brought to life and refined to "unprecedented simplicity" (Boris Pasternak).

All these paintings profess themselves totally in the creative tension born of a sense of something lacking, of a paradise lost. They are thus the obstinate attempt to reconstruct a world which the artist snatches away from oblivion, a world freed from the laws of gravity... The process of embodying memory in plastic form can be seen in a picture such as _The Cattle Dealer_ , of which Chagall produced two versions (1912 and 1923).

Like his compatriots Mikhail Larionov and Natalia Goncharova, he linked himself on the contrary to the Byzantine tradition, which had always given priority to meaning and not to representation. The extreme elongation of the figures, the rejection of perspective, the plasticity of the interior space, the frontality we often see in his works, the occasional use of red backgrounds as in icons from the Novgorod school, are recognizable objective elements of Chagall's representative system. Certainly the Cubist syntax permitted the painter to give spatial structure to his internal experience in all its multiplicity of different levels. But the "intentionality" of the picture derives from the spiritualist, symbolic culture peculiar to Russia, a mystical land par excellence.

## 33. The Clock (1914).

Pencil, gouache and oil on paper, 49 x 37 cm,

The State Tretyakov Gallery, Moscow.

## 34. Lovers in Pink.

Oil on cardboard, 69 x 55 cm,

Private Collection, St Petersburg.
Chagall's work had a certain quality - the intuition of a child who believes more in the unseen than in ordinary reality, combined with such great sympathy for the world that he was able to discern even the pain of objects.

Chagall was not one of those artists whose work had an intellectual basis, a need to pose and solve - if by purely aesthetic means - some theoretical problem. And he was not a captive of the visible world like the Impressionists. His philosophy was intuitive, his archetypal people and situations were inherent in his genetic memory and not acquired. But Chagall, a man who was acutely aware of his own time, paid pointed attention to the past and the future, in so far as those things which above all occupied him in this world - love, death, suffering and happiness - have always existed. It is the external appearance of a rebus of a man who has broken with the natural synthesis of the seen, the known and the unseen: that imaginary synthesis in which fairytale, myth and children's notions of the world in themselves and around themselves fully and harmoniously exist side by side.

The intimate link between man and the universe expresses the profound unity of all living things. This affirmation of the consubstantiality of man and the world is intuitively perceived by Chagall when he writes in _My Life_ : "Art seems to me to be above all a state of the soul. The souls of everyone, of all bipeds at all points of the earth, are holy.[8] "

And later, in 1958, Chagall added, in a speech at the University of Chicago: "Life is clearly a miracle. We are parts of this life and we pass, with age, from one form of life to another... A man can never technically or mechanically learn all the secrets of life. But through his soul he is connected with the world, in harmony with it, perhaps even unconsciously.[9]"

We are not far here from the notion of Stimmung.

The second aspect linking Chagall to the dominant artistic currents in contemporary Russia lies in his admiration for Gauguin and his own search for a colour which would give itself up in its totality, for a colour which was pure, original, a colour which was radiant, a colour bearing energy and magic.

## 35. Lovers in Blue (1914).

Oil on cardboard, 48.5 x 44.5 cm,

Private Collection, St Petersburg.

## 36. Lovers in Green (After 1914).

Oil on cardboard, 48 x 45 cm,

Private Collection, Moscow.

## 37. Soldiers with Bread (1914-1915).

Gouache and watercolour on cardboard, 50.5 x 37.5 cm,

Collection Zinaida Gordeyeva, St Petersburg.

## 38. Over the Town (1914-1918).

Oil on canvas, 141 x 198 cm,

The State Tretyakov Gallery, Moscow.
In late 1914 and early 1915 three powerful artistic tendencies, each of which was, on its own, extremely significant, took shape and existed side by side in complex interaction in his art. First was that same ordinary life in Vitebsk, enriched with a very slightly more lyrical pensiveness than before and with an echo of French colouring - now barely perceptible, now totally obvious. Second was a clear striving towards the use of poetical and philosophical metaphor as a form of comprehending the most dramatic aspects of life, in which we can trace the development of the central conceptions of his art - Time and Space.

Finally, thirdly, it is a marked Symbolistic basis to his work which is seen in a whole series of paintings united by their tense, disturbed and polysemantic subtext and completely defined formal system. It seems that it was at this very time, after his return from Paris, after his contact - still only somewhat fragmentary - with Russian culture, that the artist truly revealed what had been accumulating within him during his years abroad. It was at this very time that it became clear that his artistic perception was even richer and more complex than one could judge from an acquaintance with his Parisian works.

The Revolution was to bring the painter the hope of new dignity and the possibility of his realization as an artist. The declaration of war had in effect brought him back to Vitebsk. He found his native soil, his family again, and married Bella. A daughter, Ida, was soon born. A wealth of personal happiness was added to the promise of universal happiness and the obtaining of the rights of full citizenship.

Chagall believed fervently in the Revolution. He had known Anatoly Lunacharsky in Paris. The latter became Commissar for Cultural Affairs in the first Soviet government in 1917 and helped to put into effect Lenin's vast cultural project for Russia, which was not without similarities to the ideology propagated by the Wanderers during the second half of the nineteenth century. Lunacharsky offered Chagall the post of Commissar for Fine Arts in the Vitebsk region and Chagall accepted with enthusiasm. Art as a principle of the flowering of the individual and as a means of social promotion found in Chagall its most active representative. Untiring, the painter established the basic structures for teaching - a museum, an art school, a revolutionary studio - the prerequisites for this revolution of the soul which he sought to bring about in each of his compatriots. He summoned Dobuzhinsky, his former teacher from the Zvantseva school, Pen himself, Ivan Puni and El Lissitzky.

For the first anniversary of the October Revolution he made "art descend into the streets" and transformed the urban decoration of Vitebsk with a sense of the mise-en-scène which he later was to express in his works for the theatre and, above all, the ballet.

## 39. The Mirror (1915).

Oil on cardboard, 100 x 81 cm,

Russian Museum, St Petersburg.

## 40. Jew in Red (1915).

Oil on cardboard, 100 x 80.5 cm,

Russian Museum, St Petersburg.

## 41. The Green Violonist (1915).

Oil on canvas, 195.6 x 108 cm,

Guggenheim Museum, New York.

## 42. Birthday (1915-1923).

Oil on cardboard, 30.6 x 94.7 cm,

Guggenheim Museum, New York.

## 43. Lilies of the Valley (1916).

Oil on cardboard, 42 x 33.5 cm,

The State Tretyakov Gallery, gift of George Costakis, Moscow.

## 44. Lovers in Grey (1916).

Oil on cardboard, 69 x 49 cm,

Collection Ida Chagall, Paris.

## 45. Bella with a White Collar (1917).

Oil on canvas, 149 x 72 cm

Collection of the artist's family, France.

## 46. Double Portrait with a Wineglass (1917).

Oil on canvas, 233 x 136 cm,

Musée national d'art moderne,

Centre Georges-Pompidou, Paris.

## 47. The Promenade (1917).

Oil on canvas, 170 x 163.5 cm,

Russian Museum, St Petersburg.

## 48. The Cemetery Gates (1917).

Oil on canvas, 87 x 66.5 cm,

Collection Ida Chagall, Paris.

## 49. The Blue House (1917-1920).

Oil on canvas, 66 x 97 cm,

Musée des Beaux-Arts, Liège.

## 50. Time is a River without Banks (1930-1939).

Oil on canvas, Collection Ida Chagall, Paris.

## 51. Self-Portrait with Muse (The Apparition) (1917-1918).

Oil on canvas, 148 x 129 cm,

Collection Zinaida Gordeyeva, St Petersburg.

## 52. Praying Jew (1923).

Oil on canvas, 116.9 x 88.9 cm,

The Art Institute of Chicago, Chicago.
This period, although exciting, was to be marked by the conflict with Malevich. There is little evidence to give us an account of this confrontation: Chagall spoke of it only in a roundabout way in _My Life_. But an examination of the aesthetic path taken by each of the two artists makes it clear that antagonism was inevitable.

When, in fact, Malevich was invited by the students of the art school in Vitebsk - Chagall states, moreover, that this was on his initiative - he was already a famous artist who had formulated the basis of his Suprematist doctrine.

The beginning of the year saw the organization of the 10th All-Russia Exhibition "Non-objective Creation and Suprematism", at which Malevich showed his _White Square_. Malevich violently attacked Chagall for his teaching principles and the nature of his art, which he contemptuously charged with naturalism. Malevich's temperament, excessive and at times violent, was in sharp contrast to that of Chagall. Did Malevich also - with his Polish Catholic origins - have an instinctive distrust of the Slavic Jew? Chagall, in his turn rebelling against any theorization of art, did not understand Malevich's aesthetic commitment. At the end of 1919 Chagall was forced to leave Vitebsk, and Malevich set up the group UNOVIS - Affirmation of New Art. The avant-garde thus drove Chagall away in the name of their radical ideas. The disappointment made a deep wound.

In 1922 he was forced into exile, as if his destiny as an artist could not fulfil itself except through the bitter experience of a man wrenched from his own country. Chagall's life was henceforth embodied in the destiny of a painter who literally lived painting, his creation perpetually renewed in the certainty of its own being.

Even the most attentive and partial observer is at times unable to distinguish the "Parisian", Chagall from the "Vitebskian". The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, he used his present thoughts and his recollections. He had an utterly poetical mode of thought which enabled him to pursue such a complex course. In essence, Chagall's approach was something akin to the wise naivety of Shakespeare's plays, in which the hero passes naturally from prose to poetry. At one and the same time (if not on one and the same canvas) he created both an elevated metaphorical world and a benign yet sarcastic picture of everyday life in Vitebsk, decisively standing aloof from systems and declarations and not joining any particular group.

## 53. The Revolution (1937).

Oil on canvas, 49.7 x 100.2 cm, Musée national d'art

moderne, Centre Georges-Pompidou, Paris.
Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his "Archimedes" point for a moment. At times the painter seemed to look at the world through the magic crystal - overloaded with artistic experimentation - of the Ecole de Paris.

In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror which naturally and totally uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani and complex surface rhythms recalling the experiments of the early Cubists ( _Self-Portrait at the Easel_ , 1914). Was this a conscious experimentation with all the lessons of others, so that by comprehending them yet remaining himself he would comprehend himself?

Despite the analyses which nowadays illuminate the painters Judaeo-Russian sources, the formal relationships, inherited or borrowed but always sublime, there is always some share of mystery in Chagall's art. The mystery perhaps lies in the very nature of his art, which uses the experience of memories. Painting truly is life, and perhaps life is painting.

The art of Chagall is inscribed in the flow of temporality, in the unfolding of a creative reverie demanding conscious effort for its embodiment.

Chagall was one of the first artists of our century to perceive and depict what is now usually called the iconosphere as an essential part of nature, as tangible for the artist as the objective, material world.

Sensing the true iconosphere of time and not shunning it, he listened above all to himself; in his picture we see the directness of the storyteller who is able to interrupt himself, to be shocked by his own words or to laugh at them.

It is not without significance that Chagall's painting summons musical terms from the pen of the critic or the historian. Figures and motifs are perceived as so many sonorous objects, colours as rhythms and lines as melodies, the metaphor closely fits the painting because, like the latter, it brings out the conception of time.

## 54. The Couple of the Eiffel Tower (1938-1939).

Oil on canvas, Musée national d'art

moderne, Centre Georges-Pompidou, Paris.

# BIOGRAPHY

****

****

****

**7 July 1887**

Marc Zakharovich Chagall, the son of a fish vendor, was born in Vitebsk.

**1906**

Studied at the art school of Yuri Pen in Vitebsk, leaving for St Petersburg in the winter.

**1907-1910**

Studied at the Drawing School of the Society for the Encouragement of the Arts, StPetersburg (then directed by Nicholas Roerich) and the private school of S. Saidenberg; entered the private art school of Yelizaveta Zvantseva, where he studied under Léon Bakst and Matislav Dobuzhinsky. Showed his works at the school exhibition held in the office of the magazine _Apollon_.

**1910-1914**

Lived in Paris, on the Impasse du Maine. In 1911, moved to La Ruche. Met Pablo Picasso, Georges Braque, Fernand Léger, Amedeo Modigliani, Alexander Arkhipenko, Guillaume Apollinaire, Max Jacob, Blaise Cendrars, and other famous artists and writers. Exhibited at the Salon des Indépendants and the Salon d'Automne in Paris, with the Donkey's Tail group in Moscow, at Der Sturm Gallery in Berlin (first one-man show) and also in St Petersburg and Amsterdam. On the eve of the war, returned to Vitebsk.

**July 1915**

Married Bella Rosenfeld.

**1915-1917**

Worked in Petrograd, served on the military-industrial committee. Exhibited in Moscow and Petrograd.

**1916**

Birth of his daughter Ida.

****

**1918-1919**

Appointed Commissar for the Arts in the Regional Department of People's Education in Vitebsk. Set up and ran (from early 1919) an art school in Vitebsk, where the teachers included Mstislav Dobuzhinsky, Ivan Puni and Kasimir Malevich. Headed the Free Painting Workshop (Svomas) and the museum. Organized the celebrations in 1918 for the first anniversary of the October Revolution. Took part in the First State Free Exhibition held in the Winter Palace, Petrograd.

## 55. Blue Concert (1945).

Oil on canvas, 124.5 x 99.1 cm,

Private Collection, Acquavella Galleries, New York.

## 56. The Apparition of the Artist's Family (1947).

Oil on canvas, 123 x 112 cm,

Musée national d'art moderne, Centre Georges-Pompidou, Paris.

## 57. Wall-Clock with a Blue Wing (1949).

Oil on canvas, 92 x 79 cm, Collection Ida Chagall, Paris.

**1920-1921**

Conflict with Malevich and Lissitzky forced Chagall to leave Vitebsk. He lived in and near Moscow, producing works for the Jewish Chamber Theatre and teaching in the Malakhovka and Third International colonies for homeless children. Began work on the book _My Life_.

**1922**

Joint exhibition in Moscow with Nathan Altman and David Sterenberg.

**1922-1923**

Travelled to Kaunas with an exhibition of his works. Visited Berlin and Paris. Settled in Paris in September 1923. Produced etchings for _My Life_ and began work on illustrations to Gogol's _Dead Souls_.

**1926**

One-man shows in Paris and New York.

**1930-1931**

Worked on illustrations to the Bible. Travelled to Switzerland, Palestine, Syria and Egypt. Exhibitions in Paris, Brussels and New York.

**1933**

At Goebbels' command, Chagall's works were burnt in public in Mannheim. Exhibition in Basle.

**1935**

Visited Poland.

**1937**

Granted French citizenship. Travelled to Italy.

**1939**

Carnegie Prize (USA).

**1940**

Moved to the Loire and then to Provence.

## 58. Champ de Mars (1954-1955).

Oil on canvas, 149.5 x 105 cm,

Museum Folkwang, Essen.

## 59. The Artist at His Easel (1955).

Oil on canvas, 55 x 46 cm, Private Collection.

**1941**

Arrested in Marseille and then freed. Moved to the USA.

**1942**

Worked for theatres in the USA and Mexico.

**1944**

Death of Bella Chagall in New York.

**1945**

Set designs and costumes for Stravinsky's ballet _The Firebird_.

**1946**

Exhibitions in New York and Chicago.

**1947**

Exhibition at the Musée National d'Art Moderne in Paris.

**1948**

Returned to France. Publication of _Dead Souls_ with illustrations by Chagall. Exhibitions in Amsterdam and London. Travelled widely in this and the following years.

**1950**

Moved to Vence, near Nice. Worked on lithographs and ceramics.

**1951**

First stone sculptures. Large exhibitions in Bern and Jerusalem.

**1952**

Married Valentina Brodsky. Visit to Greece.

**1953-1955**

Major exhibitions in Turin, Vienna and Hanover.

**1956**

Publication of the Bible with illustrations by Chagall.

## 60. The Triumph of the Music (1967).

Oil on canvas (wall painting), about 11 x 9 m,

The Metropolitan Opera, Lincoln Center, New York.

## 61. The Dream (1978).

Tempera on canvas, 65 x 54 cm, Private Collection.

**1957**

Began work on stained-glass windows (for Assy, Metz, Jerusalem, New York, London, Zurich, Reims, Nice). Exhibitions of graphic works in Basle and Zurich.

**1959**

Murals in the foyer of the Theatre in Frankfurt am Main. Exhibitions in Paris, Munich and Hamburg.

**1963**

Exhibitions in Japan.

**1964**

Ceiling paintings in the Opera in Paris. First mosaics and tapestries.

**1966**

Moved to Saint-Paul-de-Vence. Painted murals in the Metropolitan Opera in New York.

**1969-1970**

Foundation of the Musée Chagall in Nice. Major retrospective exhibition at the Grand Palais in Paris.

**June 1973**

Trips to Moscow and Leningrad at the invitation of the USSR Ministry of Culture.

**July 1973**

Opening of the Musée Chagall in Nice.

**October 1977**

Exhibition of paintings produced between 1967 and 1977 in the Louvre.

**1982-1984**

Major exhibitions in Stockholm, Copenhagen, Paris, Nice, Rome and Basle.

**28 March 1985**

Marc Chagall died at Saint-Paul-de-Vence in the ninety-eighth year of his life.

**1987**

Major exhibition of Chagall's works in Moscow.

## 62. The Painter (1976).

Oil on canvas, 65 x 54 cm, Private Collection.

# LIST OF ILLUSTRATIONS

1. Kermis (Village Fair) (1908).

2. Self-Portrait (1909).

3. The Artist's Sister (Mania) (1909).

4. My Fiancée in Black Gloves (1909).

5. Sabbath (1910).

6. Dedicated to my Fiancée (1911).

7. The Wedding (1910).

8. From the Moon (The Russian Village).

9. The Violonist (1911).

10. Self-Portrait with Seven Fingers (1911).

11. The Poet (Half Past Three) (1911).

12. I and the Village (1911).

13. Birth of a Child (1911).

14. Hommage à Apollinaire (1912).

15. To Russia, Asses and Others (1911-1912).

16. The Drunk (The Drinker) (1911-1912).

17. Golgotha (1912).

18. The Cattle Dealer (1912).

19. The Soldier Drinks (1912).

20. Soldiers (1912).

21. The Violonist (1912-1913).

22. Maternity (Pregnant Woman) (1913).

23. Self-Portrait with White Collar (1914).

24. Paris through the Window (1913).

25. Portrait of the Artist's Sister, Maryasinka (1914).

26. Father (1914).

27. The Newspaper Vendor (1914).

28. The Barbershop (1914).

29. Chemist's Shop in Vitebsk (1914).

30. Over Vitebsk (1914).

31. Feast Day or Rabbi with a Lemon (1914).

32. Jew in Green (1914).

33. The Clock (1914).

34. Lovers in Pink.

35. Lovers in Blue (1914).

36. Lovers in Green (After 1914).

37. Soldiers with Bread (1914-1915).

38. Over the Town (1914-1918).

39. The Mirror (1915).

40. Jew in Red (1915).

41. The Green Violonist (1915).

42. Birthday (1915-1923).

43. Lilies of the Valley (1916).

44. Lovers in Grey (1916).

45. Bella with a White Collar (1917).

46. Double Portrait with a Wineglass (1917).

47. The Promenade (1917).

48. The Cemetery Gates (1917).

49. The Blue House (1917-1920).

50. Time is a River without Banks (1930-1939).

51. Self-Portrait with Muse (The Apparition) (1917-1918).

52. Praying Jew (1923).

53. The Revolution (1937).

54. The Couple of the Eiffel Tower (1938-1939).

55. Blue Concert (1945).

56. The Apparition of the Artist's Family (1947).

57. Wall-Clock with a Blue Wing (1949).

58. Champ de Mars (1954-1955).

59. The Artist at His Easel (1955).

60. The Triumph of the Music (1967).

61. The Dream (1978).

62. The Painter (1976).
**TABLE OF CONTENT**

BIOGRAPHY

LIST OF ILLUSTRATIONS

NOTES

# NOTES

* * *

[1] Marc Chagall, _Ma vie_ , op cit, p. 81

[2] YL Obolenskaïa, _A l'école Zvantseva sous la direction de L. Bakst et M. Doboujinski_ , 1906-1910. Manuscript kept in the manuscript section of the Tretiakov Gallery in Moscow, Russia

[3] _Ma vie_ , op.cit., p. 108

[4] Bella Chagall, _Lumières allumées_ , translated by Ida Chagall; illustrations from Marc Chagall, NRF Gallimard

[5] _Ma vie_ , op.cit., p. 143

[6] André Breton, "Genèse et perspectives artistiques du surréalisme", in _Le Surréalisme et la peinture_ , 1928-1965, Gallimard, Paris, 1979, p. 63

[7] _Ma vie_ , op.cit., p. 154

[8] _Ma vie_ , op.cit., p. 160

[9] Marc Chagall, Conference held at the university of Chicago by invitation of John Nef, Chicago, February 1958. Translation in French, typescript p. 18 quotation p. 17. Archives of the Musée National Message Biblique Marc Chagall, Nice. Published in English in John Nef, Bridges of Human Understanding. The university of Chicago, university Publishers, New York, 1964

redpajama_set_name: RedPajamaBook


This is a brand page for the HARO trademark by Haro Designs, Inc. in CARLSBAD, CA, 92009.
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The essence of a well decorated living room with a profound style is decorating with bold elements of a modern and contemporary nature. Sofa as the main charmer in the living room has the power to decide and determine the style, the ambiance and the energy that is going to prevail in the place. Therefore, in this article we are going focus on a interesting piece of furniture with a very perky and modern nature: Pink Sofa. For everyone who are utterly inspired by the chic and modern style, the glamorous and chic sparks from the pink sofa will be most suitable for their living room. Pink sofa posses a sort of a girly and feminine nature, due to the structure of the pink color, but anyway it could perfectly fit in any kind of living room.Check out the below showcase of super chic and modern pink sofa designs, and pick your favorite for you living room.
This light pink sofa is extra ordinary. The baby pink color in combination with the casual and yet modern and chic design provide this sofa with super chic and modern note.
The straight and geometrical design of this beautiful pink sofa is brighten up with the soft and gallant shade of pink and the comfortable linen material.
This darling pink sofa in a Neo Victorian vintage style with white wooden legs which give elegance to the sofa and the baby pink upholstery which give modern style is gorgeous and perfect element for every classy and sophisticated home.
The distinctive shade of pink in combination with the tufted design make this sofa super chic and modern. This super modern and sophisticated sofa with chic design will sure work as a striking complement to your living room.
Velvet and baby pink go perfect together. This baby pink velvet sofa with tufted design is simply exquisite and super chic, it will fit in every modern and contemporary living room.
The vibrant, hot pink in combination with the velvet fabric and simple design make this sofa a perfect element for every modern and style oriented living room.
This sofa is utterly beautiful and fancy, the flamingo pink color in combination with the relaxed and chill design make this sofa perfect for every shabby chic living room.
The mid- century style and oval design of this sofa goes perfectly in the light pink color. This sofa owns a super non chalant charm and may be a great focal point in your living room.
The fuchsia pink in combination with the Baroque inspired design and white charming frame make this sofa extremely modern and beautiful.
Everything about this sofa is beautiful and modern: the vibrant pink color, the silk fabirc, the baroque frame and the damask pattern make this sofa super chic and beautiful.
This is a perfect sofa for a shabby chic living room with style. The pastel pink color goes perfect with the tufted and casual design and make this sofa urban and beautiful.
Even though this loos like an a ordinary sofa for a casual living room, the vibrant pink color distinguish it from ordinary and provide this sofa with extra ordinary appearance.
The straight and neat lines of this vibrant sofa are beautiful and extremely modern. This ultra pink sofa will surely beautify your living room and provide it with nice statement.
Vinatge design of a elegant sofa in a dusty pink color is a great element for creating a bohemian chic ambiance in your living room. This light pink sofa is outstanding.
The noisy texture of this bold pink sofa add to its appeal and provide this sofa with outstanding charm and style.


As I sit down to write this article it's now over four months since Black Friday first ripped away my ability to play online poker, and in all honesty, except for a few thousand serious online poker players nothing has really changed for the 99.99% of the US population who see the inability to play online poker somewhere between a good thing and a minor nuisance.
This is why online poker legislation has always been doomed in this country; the arguments that were being put forth, while completely logical to serious poker players, were so backwards to the vast majority of the population that they were dismissed entirely. Seriously, 99.99% of the population doesn't care if poker is luck or skill, or precisely the amount of skill involved in the game.
* Why is the government saying it's ok to gamble virtually anywhere in the United States but not online?
* Why is the government passing up the tax revenue and job creation benefits of legalizing online poker in the US?
* Why is the government not regulating this industry; insuring the safety of the players who do participate in these games?
Now that online poker is effectively banned in the US, opponents of the game have moved on to their next social issue, and the vocal minority now resides on the other side of the debate! Before Black Friday the loudest voices were coming from the people who wanted online poker banned outright, with their cherry-picked and fabricated talking points.
We can now point to the difference between a PokerStars and a Full Tilt Poker as a means of saying this is what you get with a reputable, regulated, company like PokerStars, compared to what can occur in an unregulated market –Full Tilt Poker. We can point out the number of jobs and tax revenue that has been lost overseas; we can question the hypocrisy of allowing state lotteries and casinos across the US, but not allow online gaming; now that Black Friday has shown us that online poker is simply not a big deal to most people, we can choose the arguments that make sense to these people, and simply discard the luck vs. skill debate in poker for theoretical debates.
This entry was posted on Friday, August 26th, 2011 at 9:55 am and is filed under Poker News. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
The question of jobs could easily be a condition of licenced/regulated online gambling in the USA. No jobs for US citizens, no licence to offer online poker. The revenue each room make from such a huge market would easily offset paying wages with benefits.
A legal marketplace would slowly expand bringing in even more revenue to the game, which would provide a decent amount of taxable revenue.
The argument of regulation would take too long is just complete and utter garbage. There are already a lot of rules and regulations in place for land based casinos and a few tweaks and some cannibalisation would make it quite an easy task. Maybe from federal to state level could get somewhat complicated, I don't know enough about the US legal system to fully understand the implications of that.


To provide a starting point for students in years 7-10 to develop their sport leadership skills and hopefully inspire to be the next generation of sports leaders in the local community.
To inspire greater capacity of feedback & guidance given to enrichment sports at Finham.
To provide fun and structured support for young people to participate in and give them an insight into the enjoyment gained through sports leadership.
To develop generic skills which can be applied to a variety of sporting activities (KS3).
To provide specific coaching skills which can be applied to specific sporting activities(s) (KS4).
In the first couple of weeks of the academic year all students create and have opportunities to lead their own warm-ups through the 'IDEAS' principle.
At the start of October students in every PE group can apply to be a sports leader through application to their teacher. Each group to have TWO leaders.
These students will work specifically with their PE teacher to develop their leadership skills.
They will come together once a half term to share ideas with the teacher in-charge of sports leadership.
This will create a maximum of 24 Sports leaders in Key stage 3.
Lead the group in warm-ups (specific and general to the activity).
Set up and organise equipment when needed.
Coach and umpire where needed.
Help in the delivery of inter-college i.e. captains etc.
All students in year 10 will follow the creative curriculum (CC) model which encompasses the Level one Junior Sports Leadership Award (JSLA).
At the start of the year students will apply by application to be considered to be entered for the JSLA. This will be signed by their parents. If students drop out they will be charged for the course.
Students who choose will lead a minimum of 5 after school enrichment sessions in their chosen sport. This will increase the capacity of coaches at enrichment clubs. Where there is particular demand there may have to be rotation over a season. It is hoped certain students will stay with a team for the whole season.
Some sports will be specific to a certain season i.e. summer, thus there needs to be a structured timetable put in place when students will lead. All leadership must be completed by mid-May to allow all 'polishing of all JSLA work.
To umpire/ coach where needed.


"I'd like you to work late tonight" said Craig. "No problem boss" Judith replied.
"I'd like you to work late tonight" said Craig.
"No problem boss" Judith replied.
Later, Craig approached Judith. "I have something to say. It's been on my mind for awhile. I just didn't want your coworkers to get the wrong idea."
"What is it?" Judith asked with a romantic hopefulness.
"Well..." Craig said "... You're fired."


The single most important thing we can do to restore our nation to what the forefathers intended is to vote. More importantly, we need to know where the candidates stand on the issues before deciding who to cast our votes for. The rates of re-election in the House and Senate are mind-blowing. We all fuss and complain about what they are or are not doing, yet the vast majority of us will cast our vote to keep them in office. Where is the logic in that? This is actually a pretty simple fix, if we the people will stop allowing our senators and representatives to keep their jobs when they are not performing them to our satisfaction that will send them a strong message. If your boss at work started firing people for non-performance, would you not take notice and put your best effort into your own job performance?
Ousting incumbents that do not represent us as promised will not only bring new blood and fresh ideas to Washington, it will also help to dismantle the establishment. Serving our nation in this capacity was never intended to be a career or means to attaining wealth and power. Congress should be a revolving door with members rotated in and out regularly. No more Washington elites controlling the people, this is how we the people turn the tables and put power in this nation back where it belongs.
Not everyone has the time to spend hours and hours volunteering in political campaigns, but every little bit helps. If you find a candidate that you truly believe in, help them out in any way you can. Whether you make a few phone calls from a voter registration list, walk your neighborhood and pass out literature, or even if you can do no more than put a sign in your front yard to show your neighbors who you are supporting, there is always something we can do no matter how big or small to support someone we believe in.
Just like a muscle, you must use it if you do not want to lose it. The biggie, freedom of speech, this is not limited to what we say when we are out in public or on social media, although social media as we have seen by President Trump's use of it can be a powerful mechanism for expression of views. We can make regular calls or send emails to our senators and congressman. For those that have the time and wherewithal to undertake such an endeavor, organizing rallies is a great way to create visibility for a cause and educate voters in your area. For those that are unable to commit to something so time-consuming, simply attending such events and adding to the number of participants will also serve to make a statement. Freedom to assemble, whenever possible attend your party's committee meetings, do not allow a select few in your county to run it all, bring down the "good 'ole boy system" and encourage your friends and neighbors to attend with you. For those of you that have never attended meetings of your county's party, you might be surprised at what is decided amongst a small minority of people.
Should you find that you have the desire, run for a local office, I cannot say enough about having new blood in the political arena to challenge the entrenched few running our cities, counties and nation.
For those of us that are spiritual, the single most important thing we can do is to pray for our nation and its leaders. Even though at times it seems that God is just sitting back and watching us screw things up, He is not, He has a plan and wants us to trust Him to work things out to our good. Learning to be patient and that His timing is always perfect is often a difficult thing to do, but I can tell you from personal experience, He is working and what He has planned for us is so much greater than anything we could imagine for ourselves. He is still in the business of working miracles, so pray for our nation and trust He will take care of us.
Previous Post Why is This Even an Issue in America?


Marie Kondo, one of the most famous lifestyle gurus in the world, reached her on-screen success thanks to the Netflix series "Tidying up with Marie Kondo", where she offered to be a consultant for families (one per episode), giving them a hand renewing their living space. Rigorously in compliance with the techniques that can be found in her bestseller "The Life-Changing Magic of Tidying Up".
Despite the show being focused on houses, Kondo's renewed advices, namely the KonMari Method, can be employed in many different situations, even to enhance one own's performances, because studies have demonstrated that tidy workers tend to be more productive.
Let's see how Marie's approach can be actually implemented in offices, cubicles and other workspaces.
One of the most important takeaways of this method is that once you succeed at organizing the space, you are all set. You are never going to do it again!
Most people proceed one room at a time; here, instead, the secret is creating target categories, such as books, clothes, papers, miscellanea.
In fact, it's easier to mess up a single room that had been cleaned, whereas is much more complex to do so if you have organized your belongings.
You will learn that only some objects are valuable and are worth keeping, while you shall get rid of those that are not this meaningful to you.
The KonMari method is not simply a way to tidy up a space, it's more like an inner analysis you must conduct on yourself and that you can theoretically apply to every situation you face. You probably spend a significant amount of time at office. It is hence important to organize it. By doing so, you will feel more at ease and this will have positive effects on your performance.
If you feel comfortable with the way you designed your home, you should replicate the same atmosphere and apply the same criteria to your office. Once you have pictured what you would like to see, then you can put your hands on.
Throwing stuff away is not the same as store it in boxes. The first step before even thinking of organizing your space is to get rid of what you decide you do not need.
Papers, old notes… These are the things that typically clutter an office. Furthermore, nowadays, most works are saved on computers, so you don't need to have a paper copy, or you can always scan documents to free up space. If you are accustomed to take notes during meetings, try digitalizing them as soon as it finishes. Once you have thrown away everything you have a digital format of, clearly label what is left and store it.
After assigning all items to their respective category and storing them in a dedicated place, you will realize how much you have and if something is unnecessary.
As previously mentioned, the method uses as categories books, papers, clothes, miscellanea and sentimental items. This is because you need to understand what you tend to cumulate and redefine your tidying skills before coming to sentimental items, which can be a distraction or to which you are affectionate.
For what concerns books and periodicals, you should only keep those you reference to regularly. Miscellanea are all little things you might have collected over time, for example a souvenir your co-worker brought you or a badge reminding you of an important conference. Family pictures are among sentimental items and you should only keep the most meaningful ones.
To achieve this goal, you have to think of a different concept of "joy" than the one you apply when at home. Here, you must ask yourself whether an object contributes to generate a good mood or to your efficiency.
Similarly, Marie suggests to apply these criteria to your career, to understand what would be the best for you and how to attain it.


USC Price School of Public Policy homeland security experts Erroll Southers and Frank Quiambao recently met with officials from Iraq to share insights on strategies involving countering violent extremism (CVE).
The visit, which took place on March 30 in Tutor Hall at USC's Center for Risk and Economic Analysis of Terrorism Events (CREATE), came at the request of the International Visitor Leadership Program in the U.S. State Department's Bureau of Cultural Affairs.
This is a global challenge, made all the more difficult by the growing trend of Americans becoming foreign fighters.
The purpose of the visit was to promote professional and cultural exchanges. In particular, the Iraqi delegation was interested in discussing CVE strategies and learning more about what makes members of a community susceptible to radical messaging.
During their talk, Southers provided an overview of the homegrown violent extremism challenges currently facing the United States.
"I discussed groups based in three ideological categories — race, religion and issue-oriented," he said.
In addition, he discussed "the new challenge we face regarding individuals embracing more than one ideology or 'hybrids,'" such as the Boston Marathon bomber, for example, who was a religious extremist, with anti-Semitic and anti-government ties, and how that could make future efforts even more daunting.
The topics discussed with the Iraqi delegation are the same issues at the core of Southers' work within the Safe Communities Institute. Together, Southers and Quiambao are working to identify and develop community-based responses to CVE, while striving to be more holistic.
Southers said he hopes the meeting will eventually lead to a partnership with universities in Iraq aimed at furthering discussions, sharing information and collaborating on effective CVE efforts.
Former DHS official outlines the elements that make the USC center a key part of the department's enterprise.
Jeh Johnson urges faculty and students to preserve their values and 'not be afraid' in the face of threats.
Homeland security expert tells USC Price about the massacre's implications.
ISIL's message resonates with 'frightening' success around the world, he tells USC Price alumni.


text:
#include "GrContext.h"
#include "GrContextOptions.h"
#include "GrDrawingManager.h"
#include "GrDrawContext.h"
#include "GrLayerCache.h"
#include "GrResourceCache.h"
#include "GrResourceProvider.h"
#include "GrSoftwarePathRenderer.h"
#include "GrSurfacePriv.h"

#include "SkConfig8888.h"
#include "SkGrPriv.h"

#include "batches/GrCopySurfaceBatch.h"
#include "effects/GrConfigConversionEffect.h"
#include "effects/GrGammaEffect.h"
#include "text/GrTextBlobCache.h"

#define ASSERT_OWNED_RESOURCE(R) SkASSERT(!(R) || (R)->getContext() == this)
#define ASSERT_SINGLE_OWNER \
    SkDEBUGCODE(GrSingleOwner::AutoEnforce debug_SingleOwner(&fSingleOwner);)
#define RETURN_IF_ABANDONED if (fDrawingManager->abandoned()) { return; }
#define RETURN_FALSE_IF_ABANDONED if (fDrawingManager->abandoned()) { return false; }
#define RETURN_NULL_IF_ABANDONED if (fDrawingManager->abandoned()) { return nullptr; }

////////////////////////////////////////////////////////////////////////////////

GrContext* GrContext::Create(GrBackend backend, GrBackendContext backendContext) {
    GrContextOptions defaultOptions;
    return Create(backend, backendContext, defaultOptions);
}

GrContext* GrContext::Create(GrBackend backend, GrBackendContext backendContext,
                             const GrContextOptions& options) {
    GrContext* context = new GrContext;

    if (context->init(backend, backendContext, options)) {
        return context;
    } else {
        context->unref();
        return nullptr;
    }
}

static int32_t gNextID = 1;
static int32_t next_id() {
    int32_t id;
    do {
        id = sk_atomic_inc(&gNextID);
    } while (id == SK_InvalidGenID);
    return id;
}

GrContext::GrContext() : fUniqueID(next_id()) {
    fGpu = nullptr;
    fCaps = nullptr;
    fResourceCache = nullptr;
    fResourceProvider = nullptr;
    fBatchFontCache = nullptr;
    fFlushToReduceCacheSize = false;
}

bool GrContext::init(GrBackend backend, GrBackendContext backendContext,
                     const GrContextOptions& options) {
    ASSERT_SINGLE_OWNER
    SkASSERT(!fGpu);

    fGpu = GrGpu::Create(backend, backendContext, options, this);
    if (!fGpu) {
        return false;
    }
    this->initCommon(options);
    return true;
}

void GrContext::initCommon(const GrContextOptions& options) {
    ASSERT_SINGLE_OWNER

    fCaps = SkRef(fGpu->caps());
    fResourceCache = new GrResourceCache(fCaps);
    fResourceCache->setOverBudgetCallback(OverBudgetCB, this);
    fResourceProvider = new GrResourceProvider(fGpu, fResourceCache, &fSingleOwner);

    fLayerCache.reset(new GrLayerCache(this));

    fDidTestPMConversions = false;

    GrDrawTarget::Options dtOptions;
    dtOptions.fClipBatchToBounds = options.fClipBatchToBounds;
    dtOptions.fDrawBatchBounds = options.fDrawBatchBounds;
    dtOptions.fMaxBatchLookback = options.fMaxBatchLookback;
    dtOptions.fMaxBatchLookahead = options.fMaxBatchLookahead;
    fDrawingManager.reset(new GrDrawingManager(this, dtOptions, &fSingleOwner));

    // GrBatchFontCache will eventually replace GrFontCache
    fBatchFontCache = new GrBatchFontCache(this);

    fTextBlobCache.reset(new GrTextBlobCache(TextBlobCacheOverBudgetCB, this));
}

GrContext::~GrContext() {
    ASSERT_SINGLE_OWNER

    if (!fGpu) {
        SkASSERT(!fCaps);
        return;
    }

    this->flush();

    fDrawingManager->cleanup();

    for (int i = 0; i < fCleanUpData.count(); ++i) {
        (*fCleanUpData[i].fFunc)(this, fCleanUpData[i].fInfo);
    }

    delete fResourceProvider;
    delete fResourceCache;
    delete fBatchFontCache;

    fGpu->unref();
    fCaps->unref();
}

GrContextThreadSafeProxy* GrContext::threadSafeProxy() {
    if (!fThreadSafeProxy) {
        fThreadSafeProxy.reset(new GrContextThreadSafeProxy(fCaps, this->uniqueID()));
    }
    return SkRef(fThreadSafeProxy.get());
}

void GrContext::abandonContext() {
    ASSERT_SINGLE_OWNER

    fResourceProvider->abandon();

    // Need to abandon the drawing manager first so all the render targets
    // will be released/forgotten before they too are abandoned.
    fDrawingManager->abandon();

    // abandon first to so destructors
    // don't try to free the resources in the API.
    fResourceCache->abandonAll();

    fGpu->disconnect(GrGpu::DisconnectType::kAbandon);

    fBatchFontCache->freeAll();
    fLayerCache->freeAll();
    fTextBlobCache->freeAll();
}

void GrContext::releaseResourcesAndAbandonContext() {
    ASSERT_SINGLE_OWNER

    fResourceProvider->abandon();

    // Need to abandon the drawing manager first so all the render targets
    // will be released/forgotten before they too are abandoned.
    fDrawingManager->abandon();

    // Release all resources in the backend 3D API.
    fResourceCache->releaseAll();

    fGpu->disconnect(GrGpu::DisconnectType::kCleanup);

    fBatchFontCache->freeAll();
    fLayerCache->freeAll();
    fTextBlobCache->freeAll();
}

void GrContext::resetContext(uint32_t state) {
    ASSERT_SINGLE_OWNER
    fGpu->markContextDirty(state);
}

void GrContext::freeGpuResources() {
    ASSERT_SINGLE_OWNER

    this->flush();

    fBatchFontCache->freeAll();
    fLayerCache->freeAll();

    fDrawingManager->freeGpuResources();

    fResourceCache->purgeAllUnlocked();
}

void GrContext::getResourceCacheUsage(int* resourceCount, size_t* resourceBytes) const {
    ASSERT_SINGLE_OWNER

    if (resourceCount) {
        *resourceCount = fResourceCache->getBudgetedResourceCount();
    }
    if (resourceBytes) {
        *resourceBytes = fResourceCache->getBudgetedResourceBytes();
    }
}

////////////////////////////////////////////////////////////////////////////////

void GrContext::OverBudgetCB(void* data) {
    SkASSERT(data);

    GrContext* context = reinterpret_cast<GrContext*>(data);

    // Flush the GrBufferedDrawTarget to possibly free up some textures
    context->fFlushToReduceCacheSize = true;
}

void GrContext::TextBlobCacheOverBudgetCB(void* data) {
    SkASSERT(data);

    // Unlike the GrResourceCache, TextBlobs are drawn at the SkGpuDevice level, therefore they
    // cannot use fFlushTorReduceCacheSize because it uses AutoCheckFlush.  The solution is to move
    // drawText calls to below the GrContext level, but this is not trivial because they call
    // drawPath on SkGpuDevice
    GrContext* context = reinterpret_cast<GrContext*>(data);
    context->flush();
}

////////////////////////////////////////////////////////////////////////////////

void GrContext::flush(int flagsBitfield) {
    ASSERT_SINGLE_OWNER
    RETURN_IF_ABANDONED

    if (kDiscard_FlushBit & flagsBitfield) {
        fDrawingManager->reset();
    } else {
        fDrawingManager->flush();
    }
    fResourceCache->notifyFlushOccurred();
    fFlushToReduceCacheSize = false;
}

bool sw_convert_to_premul(GrPixelConfig srcConfig, int width, int height, size_t inRowBytes,
                          const void* inPixels, size_t outRowBytes, void* outPixels) {
    SkSrcPixelInfo srcPI;
    if (!GrPixelConfig2ColorAndProfileType(srcConfig, &srcPI.fColorType, nullptr)) {
        return false;
    }
    srcPI.fAlphaType = kUnpremul_SkAlphaType;
    srcPI.fPixels = inPixels;
    srcPI.fRowBytes = inRowBytes;

    SkDstPixelInfo dstPI;
    dstPI.fColorType = srcPI.fColorType;
    dstPI.fAlphaType = kPremul_SkAlphaType;
    dstPI.fPixels = outPixels;
    dstPI.fRowBytes = outRowBytes;

    return srcPI.convertPixelsTo(&dstPI, width, height);
}

bool GrContext::writeSurfacePixels(GrSurface* surface,
                                   int left, int top, int width, int height,
                                   GrPixelConfig srcConfig, const void* buffer, size_t rowBytes,
                                   uint32_t pixelOpsFlags) {
    ASSERT_SINGLE_OWNER
    RETURN_FALSE_IF_ABANDONED
    ASSERT_OWNED_RESOURCE(surface);
    SkASSERT(surface);
    GR_AUDIT_TRAIL_AUTO_FRAME(&fAuditTrail, "GrContext::writeSurfacePixels");

    this->testPMConversionsIfNecessary(pixelOpsFlags);

    // Trim the params here so that if we wind up making a temporary surface it can be as small as
    // necessary and because GrGpu::getWritePixelsInfo requires it.
    if (!GrSurfacePriv::AdjustWritePixelParams(surface->width(), surface->height(),
                                               GrBytesPerPixel(srcConfig), &left, &top, &width,
                                               &height, &buffer, &rowBytes)) {
        return false;
    }

    bool applyPremulToSrc = false;
    if (kUnpremul_PixelOpsFlag & pixelOpsFlags) {
        if (!GrPixelConfigIs8888(srcConfig)) {
            return false;
        }
        applyPremulToSrc = true;
    }

    GrGpu::DrawPreference drawPreference = GrGpu::kNoDraw_DrawPreference;
    // Don't prefer to draw for the conversion (and thereby access a texture from the cache) when
    // we've already determined that there isn't a roundtrip preserving conversion processor pair.
    if (applyPremulToSrc && !this->didFailPMUPMConversionTest()) {
        drawPreference = GrGpu::kCallerPrefersDraw_DrawPreference;
    }

    GrGpu::WritePixelTempDrawInfo tempDrawInfo;
    if (!fGpu->getWritePixelsInfo(surface, width, height, srcConfig, &drawPreference,
                                  &tempDrawInfo)) {
        return false;
    }

    if (!(kDontFlush_PixelOpsFlag & pixelOpsFlags) && surface->surfacePriv().hasPendingIO()) {
        this->flush();
    }

    SkAutoTUnref<GrTexture> tempTexture;
    if (GrGpu::kNoDraw_DrawPreference != drawPreference) {
        tempTexture.reset(
            this->textureProvider()->createApproxTexture(tempDrawInfo.fTempSurfaceDesc));
        if (!tempTexture && GrGpu::kRequireDraw_DrawPreference == drawPreference) {
            return false;
        }
    }

    // temp buffer for doing sw premul conversion, if needed.
    SkAutoSTMalloc<128 * 128, uint32_t> tmpPixels(0);
    if (tempTexture) {
        SkAutoTUnref<const GrFragmentProcessor> fp;
        SkMatrix textureMatrix;
        textureMatrix.setIDiv(tempTexture->width(), tempTexture->height());
        if (applyPremulToSrc) {
            fp.reset(this->createUPMToPMEffect(tempTexture, tempDrawInfo.fSwizzle,
                                               textureMatrix));
            // If premultiplying was the only reason for the draw, fall back to a straight write.
            if (!fp) {
                if (GrGpu::kCallerPrefersDraw_DrawPreference == drawPreference) {
                    tempTexture.reset(nullptr);
                }
            } else {
                applyPremulToSrc = false;
            }
        }
        if (tempTexture) {
            if (!fp) {
                fp.reset(GrConfigConversionEffect::Create(tempTexture, tempDrawInfo.fSwizzle,
                    GrConfigConversionEffect::kNone_PMConversion, textureMatrix));
                if (!fp) {
                    return false;
                }
            }
            GrRenderTarget* renderTarget = surface->asRenderTarget();
            SkASSERT(renderTarget);
            if (tempTexture->surfacePriv().hasPendingIO()) {
                this->flush();
            }
            if (applyPremulToSrc) {
                size_t tmpRowBytes = 4 * width;
                tmpPixels.reset(width * height);
                if (!sw_convert_to_premul(srcConfig, width, height, rowBytes, buffer, tmpRowBytes,
                                          tmpPixels.get())) {
                    return false;
                }
                rowBytes = tmpRowBytes;
                buffer = tmpPixels.get();
                applyPremulToSrc = false;
            }
            if (!fGpu->writePixels(tempTexture, 0, 0, width, height,
                                   tempDrawInfo.fWriteConfig, buffer,
                                   rowBytes)) {
                return false;
            }
            SkMatrix matrix;
            matrix.setTranslate(SkIntToScalar(left), SkIntToScalar(top));
            sk_sp<GrDrawContext> drawContext(this->drawContext(sk_ref_sp(renderTarget)));
            if (!drawContext) {
                return false;
            }
            // SRGBTODO: AllowSRGBInputs? (We could force it on here, so we don't need the
            // per-texture override in config conversion effect?)
            GrPaint paint;
            paint.addColorFragmentProcessor(fp);
            paint.setPorterDuffXPFactory(SkXfermode::kSrc_Mode);
            SkRect rect = SkRect::MakeWH(SkIntToScalar(width), SkIntToScalar(height));
            drawContext->drawRect(GrClip::WideOpen(), paint, matrix, rect, nullptr);

            if (kFlushWrites_PixelOp & pixelOpsFlags) {
                this->flushSurfaceWrites(surface);
            }
        }
    }
    if (!tempTexture) {
        if (applyPremulToSrc) {
            size_t tmpRowBytes = 4 * width;
            tmpPixels.reset(width * height);
            if (!sw_convert_to_premul(srcConfig, width, height, rowBytes, buffer, tmpRowBytes,
                                      tmpPixels.get())) {
                return false;
            }
            rowBytes = tmpRowBytes;
            buffer = tmpPixels.get();
            applyPremulToSrc = false;
        }
        return fGpu->writePixels(surface, left, top, width, height, srcConfig, buffer, rowBytes);
    }
    return true;
}

bool GrContext::readSurfacePixels(GrSurface* src,
                                  int left, int top, int width, int height,
                                  GrPixelConfig dstConfig, void* buffer, size_t rowBytes,
                                  uint32_t flags) {
    ASSERT_SINGLE_OWNER
    RETURN_FALSE_IF_ABANDONED
    ASSERT_OWNED_RESOURCE(src);
    SkASSERT(src);
    GR_AUDIT_TRAIL_AUTO_FRAME(&fAuditTrail, "GrContext::readSurfacePixels");

    this->testPMConversionsIfNecessary(flags);
    SkAutoMutexAcquire ama(fReadPixelsMutex);

    // Adjust the params so that if we wind up using an intermediate surface we've already done
    // all the trimming and the temporary can be the min size required.
    if (!GrSurfacePriv::AdjustReadPixelParams(src->width(), src->height(),
                                              GrBytesPerPixel(dstConfig), &left,
                                              &top, &width, &height, &buffer, &rowBytes)) {
        return false;
    }

    if (!(kDontFlush_PixelOpsFlag & flags) && src->surfacePriv().hasPendingWrite()) {
        this->flush();
    }

    bool unpremul = SkToBool(kUnpremul_PixelOpsFlag & flags);
    if (unpremul && !GrPixelConfigIs8888(dstConfig)) {
        // The unpremul flag is only allowed for 8888 configs.
        return false;
    }

    GrGpu::DrawPreference drawPreference = GrGpu::kNoDraw_DrawPreference;
    // Don't prefer to draw for the conversion (and thereby access a texture from the cache) when
    // we've already determined that there isn't a roundtrip preserving conversion processor pair.
    if (unpremul && !this->didFailPMUPMConversionTest()) {
        drawPreference = GrGpu::kCallerPrefersDraw_DrawPreference;
    }

    GrGpu::ReadPixelTempDrawInfo tempDrawInfo;
    if (!fGpu->getReadPixelsInfo(src, width, height, rowBytes, dstConfig, &drawPreference,
                                 &tempDrawInfo)) {
        return false;
    }

    SkAutoTUnref<GrSurface> surfaceToRead(SkRef(src));
    bool didTempDraw = false;
    if (GrGpu::kNoDraw_DrawPreference != drawPreference) {
        if (tempDrawInfo.fUseExactScratch) {
            // We only respect this when the entire src is being read. Otherwise we can trigger too
            // many odd ball texture sizes and trash the cache.
            if (width != src->width() || height != src->height()) {
                tempDrawInfo.fUseExactScratch = false;
            }
        }
        SkAutoTUnref<GrTexture> temp;
        if (tempDrawInfo.fUseExactScratch) {
            temp.reset(this->textureProvider()->createTexture(tempDrawInfo.fTempSurfaceDesc,
                                                              SkBudgeted::kYes));
        } else {
            temp.reset(this->textureProvider()->createApproxTexture(tempDrawInfo.fTempSurfaceDesc));
        }
        if (temp) {
            SkMatrix textureMatrix;
            textureMatrix.setTranslate(SkIntToScalar(left), SkIntToScalar(top));
            textureMatrix.postIDiv(src->width(), src->height());
            SkAutoTUnref<const GrFragmentProcessor> fp;
            if (unpremul) {
                fp.reset(this->createPMToUPMEffect(src->asTexture(), tempDrawInfo.fSwizzle,
                    textureMatrix));
                if (fp) {
                    unpremul = false; // we no longer need to do this on CPU after the read back.
                } else if (GrGpu::kCallerPrefersDraw_DrawPreference == drawPreference) {
                    // We only wanted to do the draw in order to perform the unpremul so don't
                    // bother.
                    temp.reset(nullptr);
                }
            }
            if (!fp && temp) {
                fp.reset(GrConfigConversionEffect::Create(src->asTexture(), tempDrawInfo.fSwizzle,
                    GrConfigConversionEffect::kNone_PMConversion, textureMatrix));
            }
            if (fp) {
                // SRGBTODO: AllowSRGBInputs? (We could force it on here, so we don't need the
                // per-texture override in config conversion effect?)
                GrPaint paint;
                paint.addColorFragmentProcessor(fp);
                paint.setPorterDuffXPFactory(SkXfermode::kSrc_Mode);
                SkRect rect = SkRect::MakeWH(SkIntToScalar(width), SkIntToScalar(height));
                sk_sp<GrDrawContext> drawContext(
                                            this->drawContext(sk_ref_sp(temp->asRenderTarget())));
                drawContext->drawRect(GrClip::WideOpen(), paint, SkMatrix::I(), rect, nullptr);
                surfaceToRead.reset(SkRef(temp.get()));
                left = 0;
                top = 0;
                didTempDraw = true;
            }
        }
    }

    if (GrGpu::kRequireDraw_DrawPreference == drawPreference && !didTempDraw) {
        return false;
    }
    GrPixelConfig configToRead = dstConfig;
    if (didTempDraw) {
        this->flushSurfaceWrites(surfaceToRead);
        configToRead = tempDrawInfo.fReadConfig;
    }
    if (!fGpu->readPixels(surfaceToRead, left, top, width, height, configToRead, buffer,
                           rowBytes)) {
        return false;
    }

    // Perform umpremul conversion if we weren't able to perform it as a draw.
    if (unpremul) {
        SkDstPixelInfo dstPI;
        if (!GrPixelConfig2ColorAndProfileType(dstConfig, &dstPI.fColorType, nullptr)) {
            return false;
        }
        dstPI.fAlphaType = kUnpremul_SkAlphaType;
        dstPI.fPixels = buffer;
        dstPI.fRowBytes = rowBytes;

        SkSrcPixelInfo srcPI;
        srcPI.fColorType = dstPI.fColorType;
        srcPI.fAlphaType = kPremul_SkAlphaType;
        srcPI.fPixels = buffer;
        srcPI.fRowBytes = rowBytes;

        return srcPI.convertPixelsTo(&dstPI, width, height);
    }
    return true;
}

bool GrContext::applyGamma(GrRenderTarget* dst, GrTexture* src, SkScalar gamma){
    ASSERT_SINGLE_OWNER
    RETURN_FALSE_IF_ABANDONED
    ASSERT_OWNED_RESOURCE(dst);
    ASSERT_OWNED_RESOURCE(src);
    GR_AUDIT_TRAIL_AUTO_FRAME(&fAuditTrail, "GrContext::applyGamma");

    // Dimensions must match exactly.
    if (dst->width() != src->width() || dst->height() != src->height()) {
        return false;
    }

    SkSurfaceProps props(SkSurfaceProps::kGammaCorrect_Flag,
                         SkSurfaceProps::kLegacyFontHost_InitType);
    sk_sp<GrDrawContext> drawContext(this->drawContext(sk_ref_sp(dst), &props));
    if (!drawContext) {
        return false;
    }

    GrPaint paint;
    if (SkScalarNearlyEqual(gamma, 1.0f)) {
        paint.addColorTextureProcessor(src, GrCoordTransform::MakeDivByTextureWHMatrix(src));
    } else {
        SkAutoTUnref<const GrFragmentProcessor> fp;
        fp.reset(GrGammaEffect::Create(src, gamma));
        paint.addColorFragmentProcessor(fp);
    }
    paint.setPorterDuffXPFactory(SkXfermode::kSrc_Mode);
    paint.setGammaCorrect(true);

    SkRect rect;
    src->getBoundsRect(&rect);
    drawContext->drawRect(GrClip::WideOpen(), paint, SkMatrix::I(), rect);

    this->flushSurfaceWrites(dst);
    return true;
}

void GrContext::prepareSurfaceForExternalIO(GrSurface* surface) {
    ASSERT_SINGLE_OWNER
    RETURN_IF_ABANDONED
    SkASSERT(surface);
    ASSERT_OWNED_RESOURCE(surface);
    if (surface->surfacePriv().hasPendingIO()) {
        this->flush();
    }
    GrRenderTarget* rt = surface->asRenderTarget();
    if (fGpu && rt) {
        fGpu->resolveRenderTarget(rt);
    }
}

bool GrContext::copySurface(GrSurface* dst, GrSurface* src, const SkIRect& srcRect,
                            const SkIPoint& dstPoint) {
    ASSERT_SINGLE_OWNER
    RETURN_FALSE_IF_ABANDONED
    GR_AUDIT_TRAIL_AUTO_FRAME(&fAuditTrail, "GrContext::copySurface");

    if (!src || !dst) {
        return false;
    }
    ASSERT_OWNED_RESOURCE(src);
    ASSERT_OWNED_RESOURCE(dst);

    if (!dst->asRenderTarget()) {
        SkIRect clippedSrcRect;
        SkIPoint clippedDstPoint;
        if (!GrCopySurfaceBatch::ClipSrcRectAndDstPoint(dst, src, srcRect, dstPoint,
                                                        &clippedSrcRect, &clippedDstPoint)) {
            return false;
        }
        // If we don't have an RT for the dst then we won't have a GrDrawContext to insert the
        // the copy surface into. In the future we plan to have a more limited Context type
        // (GrCopyContext?) that has the subset of GrDrawContext operations that should be
        // allowed on textures that aren't render targets.
        // For now we just flush any writes to the src and issue an immediate copy to the dst.
        src->flushWrites();
        return fGpu->copySurface(dst, src, clippedSrcRect, clippedDstPoint);
    }
    sk_sp<GrDrawContext> drawContext(this->drawContext(sk_ref_sp(dst->asRenderTarget())));
    if (!drawContext) {
        return false;
    }

    if (!drawContext->copySurface(src, srcRect, dstPoint)) {
        return false;
    }
    return true;
}

void GrContext::flushSurfaceWrites(GrSurface* surface) {
    ASSERT_SINGLE_OWNER
    RETURN_IF_ABANDONED
    if (surface->surfacePriv().hasPendingWrite()) {
        this->flush();
    }
}

////////////////////////////////////////////////////////////////////////////////
int GrContext::getRecommendedSampleCount(GrPixelConfig config,
                                         SkScalar dpi) const {
    ASSERT_SINGLE_OWNER

    if (!this->caps()->isConfigRenderable(config, true)) {
        return 0;
    }
    int chosenSampleCount = 0;
    if (fGpu->caps()->shaderCaps()->pathRenderingSupport()) {
        if (dpi >= 250.0f) {
            chosenSampleCount = 4;
        } else {
            chosenSampleCount = 16;
        }
    }
    return chosenSampleCount <= fGpu->caps()->maxSampleCount() ? chosenSampleCount : 0;
}

sk_sp<GrDrawContext> GrContext::drawContext(sk_sp<GrRenderTarget> rt,
                                            const SkSurfaceProps* surfaceProps) {
    ASSERT_SINGLE_OWNER
    return fDrawingManager->drawContext(std::move(rt), surfaceProps);
}

sk_sp<GrDrawContext> GrContext::newDrawContext(SkBackingFit fit,
                                               int width, int height,
                                               GrPixelConfig config,
                                               int sampleCnt,
                                               GrSurfaceOrigin origin,
                                               const SkSurfaceProps* surfaceProps) {
    GrSurfaceDesc desc;
    desc.fFlags = kRenderTarget_GrSurfaceFlag;
    desc.fOrigin = origin;
    desc.fWidth = width;
    desc.fHeight = height;
    desc.fConfig = config;
    desc.fSampleCnt = sampleCnt;

    sk_sp<GrTexture> tex;
    if (SkBackingFit::kExact == fit) {
        tex.reset(this->textureProvider()->createTexture(desc, SkBudgeted::kYes));
    } else {
        tex.reset(this->textureProvider()->createApproxTexture(desc));
    }
    if (!tex) {
        return nullptr;
    }

    sk_sp<GrDrawContext> drawContext(this->drawContext(sk_ref_sp(tex->asRenderTarget()),
                                                       surfaceProps));
    if (!drawContext) {
        return nullptr;
    }

    return drawContext;
}

bool GrContext::abandoned() const {
    ASSERT_SINGLE_OWNER
    return fDrawingManager->abandoned();
}

namespace {
void test_pm_conversions(GrContext* ctx, int* pmToUPMValue, int* upmToPMValue) {
    GrConfigConversionEffect::PMConversion pmToUPM;
    GrConfigConversionEffect::PMConversion upmToPM;
    GrConfigConversionEffect::TestForPreservingPMConversions(ctx, &pmToUPM, &upmToPM);
    *pmToUPMValue = pmToUPM;
    *upmToPMValue = upmToPM;
}
}

void GrContext::testPMConversionsIfNecessary(uint32_t flags) {
    ASSERT_SINGLE_OWNER
    if (SkToBool(kUnpremul_PixelOpsFlag & flags)) {
        SkAutoMutexAcquire ama(fTestPMConversionsMutex);
        if (!fDidTestPMConversions) {
            test_pm_conversions(this, &fPMToUPMConversion, &fUPMToPMConversion);
            fDidTestPMConversions = true;
        }
    }
}

const GrFragmentProcessor* GrContext::createPMToUPMEffect(GrTexture* texture,
                                                          const GrSwizzle& swizzle,
                                                          const SkMatrix& matrix) const {
    ASSERT_SINGLE_OWNER
    // We should have already called this->testPMConversionsIfNecessary().
    SkASSERT(fDidTestPMConversions);
    GrConfigConversionEffect::PMConversion pmToUPM =
        static_cast<GrConfigConversionEffect::PMConversion>(fPMToUPMConversion);
    if (GrConfigConversionEffect::kNone_PMConversion != pmToUPM) {
        return GrConfigConversionEffect::Create(texture, swizzle, pmToUPM, matrix);
    } else {
        return nullptr;
    }
}

const GrFragmentProcessor* GrContext::createUPMToPMEffect(GrTexture* texture,
                                                          const GrSwizzle& swizzle,
                                                          const SkMatrix& matrix) const {
    ASSERT_SINGLE_OWNER
    // We should have already called this->testPMConversionsIfNecessary().
    SkASSERT(fDidTestPMConversions);
    GrConfigConversionEffect::PMConversion upmToPM =
        static_cast<GrConfigConversionEffect::PMConversion>(fUPMToPMConversion);
    if (GrConfigConversionEffect::kNone_PMConversion != upmToPM) {
        return GrConfigConversionEffect::Create(texture, swizzle, upmToPM, matrix);
    } else {
        return nullptr;
    }
}

bool GrContext::didFailPMUPMConversionTest() const {
    ASSERT_SINGLE_OWNER
    // We should have already called this->testPMConversionsIfNecessary().
    SkASSERT(fDidTestPMConversions);
    // The PM<->UPM tests fail or succeed together so we only need to check one.
    return GrConfigConversionEffect::kNone_PMConversion == fPMToUPMConversion;
}

//////////////////////////////////////////////////////////////////////////////

void GrContext::getResourceCacheLimits(int* maxTextures, size_t* maxTextureBytes) const {
    ASSERT_SINGLE_OWNER
    if (maxTextures) {
        *maxTextures = fResourceCache->getMaxResourceCount();
    }
    if (maxTextureBytes) {
        *maxTextureBytes = fResourceCache->getMaxResourceBytes();
    }
}

void GrContext::setResourceCacheLimits(int maxTextures, size_t maxTextureBytes) {
    ASSERT_SINGLE_OWNER
    fResourceCache->setLimits(maxTextures, maxTextureBytes);
}

//////////////////////////////////////////////////////////////////////////////

void GrContext::dumpMemoryStatistics(SkTraceMemoryDump* traceMemoryDump) const {
    ASSERT_SINGLE_OWNER
    fResourceCache->dumpMemoryStatistics(traceMemoryDump);
}

redpajama_set_name: RedPajamaGithub