Fred Armisen, Art Aficionado: The Bride (La Mariée) by Marc Chagall

-Fred, I hope you don’t
mind me saying this. You’re a renaissance man.
-Oh, thanks. -You don’t mind
that label, right? -I like it.
-It’s true, though. I mean, you’re a comedian. You’re a writer.
You’re a musician. And the thing that I’ve only
learned about you recently is — you’re an art connoisseur. -I am.
-You love art. -I love it. -And it’s one thing to love art,
but you also know art. And you were
telling me backstage that you have an
art historian’s knowledge of every painting ever painted. -Yeah. Every painting. -And that’s not just something
you’re saying to impress me. -No.
-This is a real thing. -It’s absolutely real. -Because we’re going to
put it to the test. -Sure. -And I don’t want you to
embarrass yourself. -No, I won’t.
-Okay. It’s time once again
for our segment “Fred Armisen, Art Aficionado.” ♪♪
[ Cheers and applause ] Fred, this is Marc Chagall’s
1950 painting “The Bride.” Fred, tell us everything
you know about this painting, and make sure every piece of it
is historically accurate. -Well, originally,
this was like 1950, and this is, you know,
in January. He just — He started — -Oh, so you know,
like, the month? -Oh, yeah, this is, like —
Well, this was, like, his sort of January period. He’s very famous for this. And he wanted to do a set of
place mats, you know, for, like, dinner,
you know, like, dinnerware. So he’s like,
“I’m going to do these — I’m gonna just do, like,
different, you know, celebrations.” I’m going to do this one.
It’s going to be a wedding.” -Okay.
-So, he starts painting it. And his brother comes in
and takes that painting away and is like, “I’m going to set
this up at a gallery and I’m going to put it up.” And he’s like, “No.
These are a set. I need four of these,” right? So, he’s like,
“Please bring it back.” So, his brother is, like, “Why? I want to put it up
in a gallery.” He’s like, “No. Bring it back.” -What was Marc Chagall’s
brother’s name, real quick? -Uh, Rick. Rick Chagall. So, he brings it back. And he’s, like —
He puts the plates on it. He’s starting to eat. And then, as they lifted up the
plates, you know, like, there was paint on the bottom
of the plates. -Oh, God. -So it messed it up
a little bit. So the sort of ram/donkey
that you see… -The ram/donkey, yeah.
-Yeah. -It’s supposed to be
playing the cello, but that’s supposed
to be a — Yes. It’s supposed to look
more like a musician, but the plate —
Yes, spun it around so it sort of elongated
the face. -Oh. -So it just created this
other character which wasn’t meant to be,
and then the paint dried. -Oh, my God. So, this was a man, but then,
because it was a place mat, somebody put the plate down
and turned it into a — I believe you called it
a ram/donkey. -Yeah.
And it was his brother. -It was his brother, Rick. -Rick Chagall, who had taken it
from him and done that. And it was too late.
He had to get these out. There was a deadline on it.
-Yeah. -And this is exactly
how it came out. It wasn’t supposed to be this.
But it’s really fascinating. It’s one of my favorite times
of his painting career. -This is one of —
Favorite times? -Favorite times of
his painting career. -Give it up for Fred Armisen,
art aficionado. -Thank you.
[ Cheers and applause ]

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