
Marc Chagall
Chagall's home and studio in Passy during the 1930s, built around a large studio window. He left occupied France for New York in 1941.
The Passy house with a large studio window that Marc Chagall took in the 1930s — twenty years and a world away from the unheated rotunda at La Ruche.
The distance between La Ruche and this address is the whole shape of Marc Chagall's middle life. In 1912 he was in an unheated wedge-shaped room in Vaugirard painting on bedsheets. By the 1930s he was an internationally collected artist living in a house on a private lane in Passy, with a studio built around a large window.
Between the two came Vitebsk, the Russian Revolution — in which he was briefly a regional commissar for the arts — Moscow theatre commissions, Berlin, and a return to France in 1923 that made him a French painter for the rest of his life.
The 1930s work is lighter and more confident than anything before it, and the studio window is a large part of why: for the first time he had proper north light and space to work at scale.
It ended badly. As a Jewish artist in occupied France he was in serious danger, and in 1941 he escaped to New York with the help of the American rescue operation run out of Marseille. He did not come back to live in Paris.
Chagall returns to France after years in Russia and Berlin.
He lives and works at villa Eugène-Manuel in Passy.
He escapes occupied France for New York.
Not really. Villa Eugène-Manuel is a short private lane and the house is not visible from the street beyond its entrance.
He was a Jewish artist in occupied France and in serious danger. He escaped to New York in 1941 with help from the American rescue effort operating out of Marseille.

Chagall's home and studio in Passy during the 1930s, built around a large studio window. He left occupied France for New York in 1941.

The wooden Swiss-style chalet in Passy, since demolished, where Colette lived through her second marriage and the birth of her daughter.
Visit the placeOne of the Morisot family's Passy addresses during the years when Berthe and Edma Morisot were training as painters, a few doors from the house where their garden studio was built.
Visit the placeThe Morisot family house in Passy where a studio was built in the garden for Berthe and her sister Edma — an unusually serious commitment to two daughters' painting for a bourgeois family of the 1860s.
Visit the placeThe small, wealthy cemetery beside the Trocadéro where Édouard Manet is buried in the family tomb — together with his brother Eugène and Eugène's wife, the painter Berthe Morisot.
Visit the placeThe Friday Letter
The cafés, studios, and walk-up flats where the work was made — one story from the map in every letter.