Sobakévitch at the Table (Sobakévitch à table), plate XXXVI (supplementary suite) from Les Âmes mortes

Sobakévitch at the Table (Sobakévitch à table), plate XXXVI (supplementary suite) from Les Âmes mortes is a significant work created by Marc Chagall in 1923. Executed using the technically rigorous combination of etching and drypoint, this piece forms part of the supplementary illustrations Chagall produced for Nikolai Gogol’s monumental satirical novel, Dead Souls. This artistic collaboration was commissioned by the influential French art dealer Ambroise Vollard, situating this body of prints squarely within the French cultural production of the 1920s. Chagall’s approach to the series is defined by intense, expressive lines, dark tonal contrasts, and a slightly distorted, yet emotionally resonant, rendering of Gogol's character types.

This work is classified as an Illustrated Book plate, documenting a major effort for Chagall during the broad period spanning 1923-48, which covers the planning, execution, and eventual publication of the complete portfolio. Chagall utilized the sharp, textured precision of drypoint to capture the physical heaviness and crude nature of the character Sobakévitch, one of the corrupt, gluttonous landowners encountered by the protagonist Chichikov in the narrative. Unlike the exuberant color palette often associated with Chagall’s concurrent paintings, his vision for Dead Souls relies entirely on stark black and white, a choice that amplifies the psychological depth and the biting social commentary inherent in Gogol’s 19th-century text.

The intensity and technical mastery evident in this plate establish it as a key example of 20th-century graphic arts. This piece resides within the distinguished collection of the Museum of Modern Art (MoMA), recognizing its dual importance as an individual print and as a crucial component of a landmark publishing achievement. While the initial printmaking for the full Dead Souls suite was concentrated in 1923, the extended production schedule often places the final, definitive set of prints under the broader 1923-48 period, confirming Chagall’s profound contribution to the genre of the modern Illustrated Book.