Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés".
After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak.
He became a celebrity mostly against his will, feeling lost in the strange surroundings.

After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions.
He lived at 4 East 74th Street.
He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.

Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side.
There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.

Contemporary artists did not yet understand or even like Chagall's art.
According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism."
The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them.
Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941.
One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941.
Art critic Henry McBride wrote about this exhibit for the New York Sun:
Chagall is about as gypsy as they come... these pictures do more for his reputation than anything we have previously seen... His colors sparkle with poetry... his work is authentically Russian as a Volga boatman's song...
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street. He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them. Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941. Art critic Henry McBride wrote about this exhibit for the New York Sun:
Chagall is about as gypsy as they come... these pictures do more for his reputation than anything we have previously seen... His colors sparkle with poetry... his work is authentically Russian as a Volga boatman's song...
Marc Chagall