Avarice II (L'Avarice II) from The Seven Deadly Sins (Les Sept péchés capitaux)

Avarice II (L'Avarice II) from The Seven Deadly Sins (Les Sept péchés capitaux) by Marc Chagall is an intense print created in 1925 and formally published the following year in 1926. This piece is part of a significant portfolio comprising sixteen individual etching and drypoints, through which the artist explored the traditional iconography and modern psychological dimensions of the seven deadly sins. The classification of this work as a print demonstrates Chagall’s dedicated output in graphic arts during his tenure in France.

The execution relies on the demanding intaglio techniques of etching and drypoint, allowing Chagall to manipulate light and shadow using deeply scored lines and finely hatched areas. Unlike his better-known vibrant paintings, this series uses stark black and white contrast to heighten the dramatic and often grotesque nature of the subject matter. In Avarice II (L'Avarice II), Chagall interprets greed not merely as a moral failing but as a source of fantastic distortion, rendered through his characteristic blend of expressive line and Symbolist figuration. The limited palette serves to focus the viewer entirely on the unsettling composition and the detailed technical mastery achieved in the plate.

The work sits firmly within the context of European modernism. Though Chagall’s heritage often informed his early imagery, the production of this portfolio in 1925 solidified his contribution to modern French graphic arts. The Seven Deadly Sins collection remains an important reference point for studying the artist’s approach to narrative illustration and thematic constraints. While the original edition prints are held by major institutions, the enduring power of these works means they often circulate widely, making access to high-quality prints valuable for scholars. This historic example of Marc Chagall’s graphic mastery is included in the permanent collection of the Museum of Modern Art (MoMA).