The Old Park of Pliouchkine (Le vieux parc de Pliouchkine), plate XXXIX (supplementary suite) from Les Âmes mortes

The Old Park of Pliouchkine (Le vieux parc de Pliouchkine), plate XXXIX (supplementary suite) from Les Âmes mortes by Marc Chagall, is a foundational example of graphic art produced for the Illustrated Book classification in the early twentieth century. Executed in 1923, this demanding work utilizes the precise and atmospheric techniques of etching and drypoint to interpret a scene from Nikolai Gogol's famed 1842 novel, Dead Souls. The supplementary plate relates specifically to the character Pliouchkine, the notorious miser whose physical environment mirrors his spiritual decay and neglect.

The choice of etching and drypoint allowed Chagall to achieve deep variations in tone and texture. The interplay of finely scratched lines typical of drypoint creates a characteristic richness and emotional depth appropriate for Gogol’s satirical yet melancholic narrative. Created during Chagall's significant sojourn in Paris, this print series is exemplary of his French period, where his expressionistic, often dreamlike imagery began to coalesce with classical literary structures. Although the plates were realized in 1923, the work is part of a broader production schedule spanning 1923-48 for the final publication of Les Âmes mortes, solidifying its place within the timeline of post-war graphic arts innovation.

The Old Park of Pliouchkine captures the haunting quality characteristic of Chagall's early works for the livre d'artiste. Chagall often utilized distorted perspectives and symbolic figures to convey the psychological state of Gogol's characters, translating the novel’s satirical darkness into visual language. Today, this vital piece of modern art resides in the collection of the Museum of Modern Art (MoMA), highlighting the institutional recognition of Chagall’s printmaking mastery. The profound influence of this era of French illustration ensures that high-quality prints remain highly valued by collectors and researchers. Furthermore, interest in foundational works such as these often leads to wider study as historically significant images eventually transition into the public domain, ensuring their continued accessibility for global scholarship.