Few motifs in 20th-century art carry the emotional resonance and symbolic longevity of Marc Chagall’s lovers. Les Mariés de la Tour Eiffel (1928)Marc Chagall, Les Mariés de la Tour Eiffel, 1928, Oil on canvas. In Les mariés de la Tour Eiffel, Chagall constructs a complex double portrait of himself and Bella embracing against a panoramic view of Paris. Works from this series demonstrate how Chagall's large-scale paper compositions rival his oil canvases in market standing and visual weight. Les Fiancés (1932)Marc Chagall, Les Fiancés, 1932, Gouache, ink, charcoal, and pencil on paper.