In a quest for authenticity in the use of both colour and pictorial matter, the painter Marc Chagall explored all the techniques in the visual arts. The expressive power of his work, energized by an innate sense of composition and narrative freedom, was remarkably suited to a broad range of artistic languages and scales of execution.0In 1962 the Israeli government commissioned him to produce a decorative work for the reception hall of the Knesset Building. Chagall designed a monumental three-part tapestry, which was woven by the Manufacture des Gobelins, as well as a series of mosaics for the walls and floor of the Parliament building.0In 1964 he met Yvette Cauquil-Prince, who had opened a tapestry studio in Rue Saint Denis in Paris in 1959, from which she moved to Rue des Blancs-Manteaux in 1962. Her expertise in translating Chagall's compositions to tapestry, fully respecting the chromatic values of the painter's original palette, rapidly won the painter's admiration. From that moment, Yvette Cauquil-Prince became his master-weaver, going on to execute all his tapestries with the exception of the piece created in 1973 for the entrance of the Musée National du Message Biblique Marc Chagall in Nice - today called the Musée National Marc-Chagall - which was woven at the Gobelins.0Exhibition: Musée d'Art Moderne de Troyes, France (6.9.2014-11.1.2015).