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Journal articles on the topic 'Jewish art'
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1
Wharton, Annabel Jane. "Jewish Art, Jewish art." IMAGES 1, no. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.
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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institutions of Jewish art provide its substance.
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Zemel, Carol. "Jewish Art, Naturally." IMAGES 1, no. 1 (2007): 26–28. http://dx.doi.org/10.1163/187180007782347610.
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AbstractThis essay sets out an agenda for the study of modern Jewish visual culture. Topics and issues raised encompass questions of idolatry, the ethics of visuality and picturing the unrepresentable, nationalism in traditional cultural historiography, diasporic art production, and a suggested review of Jewish cultural issues in theorists such as Aby Warburg, Erwin Panofsky and others of the interwar generation.
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Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (December 26, 2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.
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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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Steyn, Juliet. "Imagining Jewish Art." Third Text 25, no. 3 (May 2011): 362–65. http://dx.doi.org/10.1080/09528822.2011.573327.
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Perry, Rachel E. "Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”." IMAGES 16, no. 1 (December 6, 2023): 131–57. http://dx.doi.org/10.1163/18718000-12340175.
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Abstract Immediately after the Holocaust, scores of Jewish survivors created graphic narratives, in word and image, about their individual and collective wartime experiences under Nazi oppression. This essay will make a case for these early postwar works as a “minor art.” “Minor” captures the material characteristics of this low-capital, low-circulation printed matter: slight in weight, small in size, modest in price, and ephemeral in quality. It also describes their “poor” images that pull, in form and structure, from popular culture (comics, cartoons, illustrated books) on the margins of modernist concerns (composite image-texts relying on narrative storytelling). Borrowing from Gilles Deleuze and Félix Guattari’s concept of “minor literature” as a deterritorialized, political, collective utterance, I argue that disciplinary notions of “art” and “testimony” have prevented us from seeing this “minor art” and recognizing how its vernacular, amateur art practices allowed survivors to reconstruct the past, remember communities and identities erased, and reclaim their own narratives of persecution. Created by a minority (a decimated Jewish community) working on the peripheries of the art world, they tell a Jewish story using Jewish frames of reference to create a community outside of majoritarian culture. What is at stake in them is not only a poetics of recollection but a politics of representation: of seeing with Jews as a critical act by dominated persons against the dominant, antifascist master narrative of WWII and the primary media of its dissemination, photography and film. Ultimately, this “minor art” can have major implications for both how we understand the crucial first decade of survivor initiatives and how we write our histories of Jewish art.
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Goren, Ahuvia. "The Lulav: Early Modern Polemical Ethnographies and the Art of Fencing." Religions 12, no. 7 (July 1, 2021): 493. http://dx.doi.org/10.3390/rel12070493.
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In recent years, scholars have devoted a great deal of attention to the history of scholarship in general and, more specifically, to the emergence of critical historical and anthropological literature from and within ecclesiastical scholarship. However, few studies have discussed the Jewish figures who took part in this process. This paper analyzes the role played by historiographical and ethnographical writing in seventeenth- and eighteenth-century Italian Jewish–Christian polemics. Tracing various Christian polemical ethnographical depictions of the Jewish rite of shaking the lulav (sacramental palm leaves used by Jews during the festival of Sukkot), it discusses the variety of ways in which Jewish scholars responded to these depictions or circumvented them. These responses reflect the Jewish scholars’ familiarity with prevailing contemporary scholarship and the key role of translation and cultural transfers in their own attempts to create parallel works. Furthermore, this paper presents new Jewish polemical manuscript material within the relevant contexts, examines Jewish attempts to compose polemical and apologetic ethnographies, and argues that Jewish engagement with critical scholarship began earlier than scholars of this period usually suggest
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Eiserman, Jennifer. "Understanding Jewish Art Jewishly: A Rationale and a Model for Including Jewish Art in Canadian Post-Secondary Coursework." Canadian Review of Art Education / Revue canadienne d’éducation artistique 47, no. 1 (December 30, 2020): 22–31. http://dx.doi.org/10.26443/crae.v47i1.103.
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Abstract: This paper surveys literature in art education that explores cultural inclusivity. It then surveys Jewish Canadian history in order to provide a sketch of the cultural context, providing a rationale for teaching Jewish art at Canadian universities. A brief history of the nature of Jewish art and its relationship to that of the dominant cultures in which Jews have lived will be described. It proposes a model for teaching Jewish art and art by Jewish artists in Canadian universities that can provide students with opportunities to truly understand the cultural context in which this work is created, using Israeli-Canadian Sylvia Safdie’s Dust as an example. Keywords: Diversity; Inclusivity; Jewish Art; Sylvia Safdie. Résumé : Cet article se penche sur la littérature du domaine de l’enseignement des arts qui traite d’inclusivité culturelle. On y explore ensuite l’histoire juive canadienne pour dresser un tableau du contexte culturel et fournir un motif d’enseigner l’art juif dans les universités canadiennes. Y sont décrits un bref historique de la nature de l’art juif ainsi que sa relation avec les cultures dominantes au sein desquelles évoluent les Juifs. L’article propose un modèle pour enseigner dans les universités canadiennes l’art juif et des œuvres réalisées par des artistes juifs. Ce modèle permet aux étudiants de mieux comprendre le contexte culturel dans lequel ces œuvres sont créées, notamment *Dust*, œuvre de l’israélo-canadienne Sylvia Safdie. Mots-clés : diversité, inclusivité, art juif, Sylvia Safdie.
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Silver, Larry. "Jewish Art and Modernity." Ars Judaica: The Bar Ilan Journal of Jewish Art 13 (May 2017): 49–64. http://dx.doi.org/10.3828/aj.2017.5.
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Zafrani, Avishag. "Criticism and Jewish Art." Critique d’art, no. 61 (December 1, 2023): 146–53. http://dx.doi.org/10.4000/critiquedart.109568.
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Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (June 2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.
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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disconnect, the relationship between Jewish-Israeli art and its patrons around the world has received little attention before now. Consequently, the discussion of art created in different spaces and times contributes to a richer, more contextualized understanding of diasporic art.
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Fine, Steven. "Menorahs in Color: Polychromy in Jewish Visual Culture of Roman Antiquity." Images 6, no. 1 (2012): 3–25. http://dx.doi.org/10.1163/18718000-12340001.
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Abstract In recent years, polychromy has developed as a significant area of research in the study of classical art. This essay explores the significance of this work for interpreting Jewish visual culture during Roman antiquity, through the focal lens of the Arch of Titus Digital Restoration Project. In July 2012, this project discovered that the Arch of Titus menorah was originally colored with yellow ochre paint. The article begins by presenting the general field of polychromy research, which has developed in recent years and resulted in significant museum exhibitions in Europe and the US. It then turns to resistance to polychromy studies among art historians, often called “chromophobia,” and to uniquely Jewish early twentieth-century variants that claimed that Jews were especially prone to colorblindness. After surveying earlier research on polychromy in Jewish contexts, we turn to polychromy in ancient Palestinian synagogue literature and art. Finally, the article explores the significance of polychromy for the study of the Arch of Titus menorah panel, and more broadly considers the importance of polychromy studies for contextualizing Jewish attitudes toward Roman religious art (avodah zarah).
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Maciudzińska-Kamczycka, Magdalena. "Narodziny „żydowskiej archeologii” i nowoczesna interpretacja antycznej sztuki żydowskiej." Studia Europaea Gnesnensia, no. 10 (January 1, 2014): 9–29. http://dx.doi.org/10.14746/seg.2014.10.1.
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The focus of this paper will be on the Jewish experience with art during the late 19 th and early 20 th centuries when Zionist scholars attempted to promote their own vision of Eretz Israel as the ancestral homeland. Jewish archaeology became an important propaganda tool designed both to generate nationalistic pride and provide scientific argument that Jews had possessed a rich and significant visual culture in the antique period of this “Old-New Land”. This is how the need of promoting Jewish nationalism made archaeology and art a very important aspect of the revival process.
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Cześniak-Zielińska, Magdalena. "Remarks on the Jewish Art Colony in Kazimierz Dolny." Studia Żydowskie. Almanach 3, no. 3 (December 31, 2013): 28–37. http://dx.doi.org/10.56583/sz.555.
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Kazimierz Dolny (Kuzmir) was visited and painted by many artists. Before 1914, and during the interwar period, there had been a lot of Jews among the artists, and the art colo-ny of Kazimierz Dolny became one of the most important and popular places among them. However, there never was anything like a strictly Jewish artistic colony or Jewish artistic community in Kazimierz Dolny and there never was exactly a Polish colony. So, it is easier to speak about artists-Jews in Kazimierz Dolny’s artistic colony or Kazimierz Dolny’s artis-tic circle than about a “national” or “ethnic” colony. The boundaries among particular groups were flexible and it was not the nationality that defined those boundaries.
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Noy, Ido. "Love Conquers All: The Erfurt Girdle as a Source for Understanding Medieval Jewish Love and Romance." IMAGES 11, no. 1 (December 5, 2018): 227–46. http://dx.doi.org/10.1163/18718000-12340088.
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AbstractThe discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were well aware of their symbolic meaning in noble love and romance.
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Schachter, Ben. "Contemporary Jewish Art and Action." Ars Judaica: The Bar Ilan Journal of Jewish Art 13 (May 2017): 65–72. http://dx.doi.org/10.3828/aj.2017.6.
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Bohm-Duchen, Monica. "Jewish Art: A Modern History." Journal of Modern Jewish Studies 12, no. 3 (November 2013): 533–34. http://dx.doi.org/10.1080/14725886.2013.856178.
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Mann, Vivian B. "Spirituality and Jewish Ceremonial Art." Artibus et Historiae 24, no. 48 (2003): 173. http://dx.doi.org/10.2307/1483736.
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Popescu, Diana I. "Jewish art: a modern history." Jewish Culture and History 16, no. 3 (February 19, 2015): 319–22. http://dx.doi.org/10.1080/1462169x.2014.1003447.
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Batsiayev, Vasil F. "Theatrical arts of Jews in Belarus." Humanitarian: actual problems of the humanities and education 21, no. 1 (April 14, 2021): 31–47. http://dx.doi.org/10.15507/2078-9823.053.021.202101.031-047.
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Introduction. Spiritual culture occupies an important place in the life of the Jews in Belarus. Its important component is art, including theatrical. In Belarus since the 16th century there are many different Jewish theatrical associations, but they have not been sufficiently studied to date. There are no special works on this problem in the ethnological literature. At the same time, the analysis of the process of their creation, repertoire and activity, determination of forms and structure is of great scientific interest and is of great practical importance. Research Methods. The structural method was applied for studying Jewish theater associations in Belarus. This method allowed to identify their forms (clubs, enterprises, studios, theaters) and structure. To consider the process of creating theater associations, activities in different historical periods, the comparative-historical method was applied. The functional method was also used, with the help of which the functions of theatrical associations were clarified. Results. On the basis of the analyzed scientific literature, the article examines the process of creating Jewish theatrical associations in Belarus, identifies their forms, structure, clarifies the drama and activities in various historical periods. Theatrical associations are also characterized, which used in their performances works of modern and classical drama, which absorbed the best features of Jewish culture on the Belarusian land, widely turned to Jewish literature, staged the first plays of many authors. Discussion and Conclusion. As a result of the study, it was revealed that the theatrical art of the Jews of Belarus began to develop in the 16th century, and the repertoire of Jewish theatrical associations (clubs, enterprises, studios and theaters) consisted mainly of Jewish classical and Soviet drama, Western European comedies. They also staged a high tragedy, vaudeville and operettas. The performances of these associations are characterized by a striving for bright stylized folk shows with sharp satirism, grotesque, buffoonery, carnivalism. Jewish theatrical art has made a notable contribution to Jewish culture. It contributed to the ideological, aesthetic and international education of the people.
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Kuspit, Donald. "Meyer Schapiro's Jewish Unconscious." Prospects 21 (October 1996): 491–508. http://dx.doi.org/10.1017/s0361233300006645.
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In 1994, Margaret Olin, reviewing the fourth volume of Meyer Schapiro's Selected Papers, observed that Schapiro “only seldom addressed [his] Jewish heritage”. Surely, she suggests, it must have influenced his practice of art history and criticism. But she is at a loss to say how. Olin notes that Schapiro's neglect of the issue is all the more conspicuous in view of the fact that his contemporaries, the Jewish-American art critics Clement Greenberg and Harold Rosenberg, openly viewed modern art from a Jewish perspective. While it was one among several heuristic gambits, they often privileged it as the most revelatory: the perspective that could disclose what is most at stake or immanent in modern art.
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Dekel, Tal. "Black Masculinities and Jewish Identity: Ethiopian-Israeli Men in Contemporary Art." Religions 13, no. 12 (December 12, 2022): 1207. http://dx.doi.org/10.3390/rel13121207.
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The identity of Jewish-Israeli men of Ethiopian descent has undergone deep-seated changes in the last decade, as evident in visual representations created by contemporary black artists living in Israel. In recent years, a new generation of Ethiopian-Israeli artists has revitalized local art and engendered deep changes in discourse and public life. Ethiopian-Israelis, who comprise less than two percent of the total Jewish population in the country, suffers multiple forms of oppression, especially due to their religious status and given that their visibility—as black Jews—stands out in a society that is predominantly white. This article draws links between events of the past decade and the images of men produced by these artists. It argues that the political awareness of Jewish-Ethiopians artists, generated by long-term social activism as well as police violence against their community, has greatly impacted their artistic production, broadened its diversity, and contributed a wealth of artworks to Israeli culture as a whole. Using intersectional analysis and drawing on theories from gender, migration and cultural studies, the article aims to produce a nuanced understanding of black Jewish masculinity in the ethno-national context of the state of Israel.
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.
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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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Silver, Larry, and Samantha Baskind. "Looking Jewish: The State of Research on Modern Jewish Art." Jewish Quarterly Review 101, no. 4 (2011): 631–52. http://dx.doi.org/10.1353/jqr.2011.0035.
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Sperber, David. "The Liberation of G-D: Helène Aylon’s Jewish Feminist Art." IMAGES 12, no. 1 (October 24, 2019): 122–33. http://dx.doi.org/10.1163/18718000-12340105.
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Abstract Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996) within the Jewish art world and the American Conservative Jewish community, and her contribution to these two diverse audiences. Despite the work’s confrontation with tradition, some rabbis from the Conservative movement played a significant role in the acceptance of the work and its exhibition in the Jewish Museum in New York and other Jewish institutions. However, they reduced its radicalism, reframing the work as a Midrashic interpretation (a form of traditional rabbinic commentary) that operates within the framework and rules that delineate the traditional Jewish interpretive community. This article analyzes how the rabbis tamed the artist’s activist and critical work. I argue that Aylon challenges the Jewish community with a radical feminist discourse that is often omitted from the dominant discourse of the traditional Jewish community. By analyzing the engagements with and reception of Aylon’s work within the Jewish art world and the Jewish Conservative community, I demonstrate how the artist seeks real social engagement that reaches beyond the walls of the museum, challenging the structures of religious patriarchy while engaging in a dialogue with its representatives.
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Grafen, Alex, and William Pimlott. "Jewish Art and Yiddish Art History: Leo Koenig's Renesans." Shofar: An Interdisciplinary Journal of Jewish Studies 40, no. 1 (2022): 2–37. http://dx.doi.org/10.1353/sho.2022.0001.
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Lurie, Yuval. "Jews as a Metaphysical Species." Philosophy 64, no. 249 (July 1989): 323–47. http://dx.doi.org/10.1017/s0031819100044697.
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There are certain remarks in Culture and Value in which Wittgenstein writes about Jews and about what he describes as their ‘Jewish mind’. In these remarks he appears to be trying to make a distinction between two different spiritual forces which operate in Western culture and which give rise to two different types of artists and works of art. On one side of the divide are Jews and works of art imbued with Jewish spirit. On the other side are men of culture and works of art which exhibit a non-Jewish spirit. Among the various remarks made in this context, he offers the following thoughts about the spiritual nature of Jews, their mentality, character and artistic achievements:‘You get tragedy when a tree, instead of bending, breaks. Tragedy is something un-Jewish’ (1). Following Renan he writes: ‘The Semitic races have an unpoetic mentality, which heads straight for what is concrete’ (6). This, he explains, is because Jews are attracted by ‘pure intellectualism’. ‘I think it would be possible now to have a form of theatre played in masks. The characters would simply be stylized human types.’ (In his opinion this suits Karl Kraus's plays and their abstract nature.) ‘Masked theatre is anyway the expression of an intellectualistic character. And for the same reason perhaps it is a theatrical form that will attract only Jews’ (12). ‘The Jew is a desert region, but underneath its thin layer of rock lies the molten lava of spirit and intellect’ (13). ‘It is typical for a Jewish mind to understand somebody else's work better than that person understands it himself.’ But intellect, it seems, is not a mental attribute providing for genius and true creative powers. ‘Amongst Jews “genius” is found only in the holy man. Even the greatest of Jewish thinkers is no more than talented. (Myself, for instance.) … It might be said (rightly or wrongly) that the Jewish mind does not have the power to produce even the tiniest flower or blade of grass; its way is rather to make a drawing of the flower or blade of grass which has grown in the soil of another's mind and to put it into a comprehensive picture. We aren't pointing to a fault when we say this and everything is all right as long as what is being done is quite clear. It is only when the nature of a Jewish work is confused with that of a non-Jewish work that there is any danger, especially when the author of the Jewish work falls into the confusion himself, as he so easily may. (Doesn't he look as proud as though he had produced the milk himself?)’ (18–19).
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Sawicki, Nicholas. "The Critic as Patron and Mediator: Max Brod, Modern Art, and Jewish Identity in Early Twentieth-Century Prague." Images 6, no. 1 (2012): 30–51. http://dx.doi.org/10.1163/18718000-12340003.
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Abstract Early in his career the critic Max Brod (1884–1968) distinguished himself as a patron of modern art and a mediator among competing ethnic and religious groups. Beginning in 1907, Brod became one of the foremost supporters of Jewish artists in Prague, and an advocate for their alliance with non-Jewish contemporaries, both German and Czech. He promoted them in his critical writing and editorial work, collected their art, and introduced them to other sponsors of modernism. Through his patronage work, he shaped how the identities of these artists were presented to the public, positioned their art in contexts that endorsed acculturation and integration, and minimized perceptions of artistic and national difference. Yet Brod's outlook on Jewish artistic identity changed over time. During the First World War, as Brod became active in the Zionist movement, he began to consider that Jewish identity might productively be marked and expressed in modern art, although he remained reluctant to designate specific artistic forms and subjects as distinctly Jewish.
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Mann, Vivian B. "Observations on the Biblical Miniatures in Spanish Haggadot." IMAGES 4, no. 1 (2010): 1–17. http://dx.doi.org/10.1163/187180010x547602.
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AbstractThis essay discusses the last two centuries of medieval Spanish art, and demonstrates that cooperative relations existed between Christians and Jews who worked either independently or together to create art both for the Church and the Jewish community. Artists of different faiths worked together in ateliers such as that headed by Ferrer Bassa (d. 1348), producing both retablos (altarpieces) as well as Latin and Hebrew manuscripts.The work of such mixed ateliers is of great significance when considering the genesis ca. 1300 of illuminated haggadot with prefatory biblical cycles and genre scenes that were produced in Spain until ca. 1360. These service books for Passover have always been viewed as a unique phenomenon within the Jewish art of Spain, their origins inexplicable. When the biblical scenes, however, are viewed in the context of contemporaneous Spanish art for the Church, their sources become more transparent.
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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (March 26, 2020): 42. http://dx.doi.org/10.3390/arts9020042.
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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.
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Zahariuc, Petronel. "O fila din istoria evreilor din Iasi de la sfarsitul secolului al XVIII-lea – inceputul secolului al XIX-lea." Banatica 1, no. 33 (2023): 393–409. http://dx.doi.org/10.56177/banatica.33.1.2023.art.21.
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The history of Jews in Moldavia during the 18th century and the first two decades of the 19th one is a major researching subject in writing the general history of the country, in the absence of which we couldn’t understand the Romanian society modernizing. Even if many studies were written and many tomes of papers were published, aspects less analyzed and unpublished documents still exist. The present article brings some completitions regarding both the relation between the Jewish community (Jewish Guild) Iaşi and statal authority, as reflected in the annual tax the community had to pay and the examption they were given, and to relation between native Jews and the Sudit Jews (Austrian or Russian foreign subjects), as revealed by the dispute concernig tax on kosher meat.
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Levkovych, Natalia. "Mythological Images and Their Interpretations in Jewish Art of Eastern Galicia, 18th – 19th Century." Bulletin of Lviv National Academy of Arts, no. 51 (October 10, 2023): 42–53. http://dx.doi.org/10.37131/2524-0943-2023-51-5.
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This study analyzes the mythological representations of sea creatures, the hippocampus, and the Leviathan in the Jewish art of Eastern Galicia. It identifies the formation of a distinctive symbolic and sign system within Jewish art, serving as a means to convey fundamental religious and philosophical principles. The prohibition of anthropomorphic depictions contributed to the development of an entire cycle of animalistic and botanical images, illustrating the diaspora Jews' conceptualizations of the Land of Israel, the Jerusalem Temple, the Gardens of Eden, the commandments of the Torah, and the Talmud. Based on the study of artworks, including preserved illustrations from the destroyed synagogues in Khodoriv and Hvizdets during the Holocaust, as well as ritual objects such as Torah shields, Torah reading pointers, Hanukkah lamps, and the decoration of tombstones-matzevot, it has been established that Jewish art developed its own program of ornamentation and the use of symbols and signs. The features of the iconography of mythical sea creatures have been identified. It is emphasized that the traditional representation of the hippocampus as a creature with the body of half horse and half fish in Jewish art monuments was replaced by depictions of a creature with the body of half goat and half fish, or half lion and half fish. Such transformations can be explained by the influence of folklore and the reinterpretation of folk art. The symbolism of the hippocampus is associated with perceptions of the sea that surrounds the Land of Israel and serves as a metaphor for the transition to another, beautiful, paradisiacal world. The iconography of the depiction of the Leviathan is also connected to its symbolism. The Leviathan coiled in a ring is a traditional symbol of anticipation of messianic times, and the Leviathan coiled around a city or specific structures embodies the concept of the temple, alluding to a sacred space, as the skin of the mythical creature will be used for the tent of the righteous. Representations of the hippocampus and Leviathan on tombstones-matzevot embody the idea of anticipating messianic times and resurrection. The exploration of symbolism in Jewish representational and decorative art provides insight into the traditional Jewish culture of Eastern Galicia.
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Cohen, Richard I. "Art Patronage and Jewish Culture: Introduction." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 1–2. http://dx.doi.org/10.3828/aj.2020.16.2.
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Frojmovic, Eva. "Jewish Identity in Modern Art History." Journal of Jewish Studies 52, no. 1 (April 1, 2001): 188–89. http://dx.doi.org/10.18647/2337/jjs-2001.
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Kirshenblatt-Gimblett, Barbara. "Towards a Post-Disciplinary Jewish Subject." IMAGES 1, no. 1 (2007): 12–14. http://dx.doi.org/10.1163/187180007782347692.
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AbstractBy inviting contributions dealing with any kind of visual material from any disciplinary perspective, Images opens up the possibility that art might be studied from any disciplinary perspective and that visual culture might be studied from an art historical point of view. Given the orphan status of Jewish art and visual culture as an object of study, how might the study of Jewish visual culture alter the fields brought to bear on it? Herein lays the opportunity to generate something new with respect both to Jewish visual culture and to visual studies more generally.
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Sperber, David. "Israeli Art Discourse and the Jewish Voice." IMAGES 4, no. 1 (2010): 109–31. http://dx.doi.org/10.1163/187180010x547666.
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AbstractIsraeli critical art discourse reflects both opposition to Jewish tradition and its enduring influence. Even when artists employ Jewish sources, scholars and critics often detach their art from the traditionalist world. In this essay, the sociological concepts of “hybridization” and “purification” are therefore presented as fundamental processes underpinning the mainstream discourse of Israeli art.This essay demonstrates how while processes of rift and reconstitution with respect to Jewish tradition inform the Israeli art scene, Israeli art discourse, like modern art discourse in general, seeks to set itself apart from the worlds of religion and faith. This essay explains that a byproduct of this phenomenon is that those artists most squarely identifiable as “religious” are largely invisible to, and ignored by, the discourse.
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Levkovych, Natalia. "Artistic Features of Besamims in Eastern Galicia in the 18th – the first third of the 20th Century." Studia Żydowskie. Almanach 5, no. 5 (December 31, 2015): 13–28. http://dx.doi.org/10.56583/sz.481.
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The paper focuses on the art of the Jewish community of Galicia from the 18th century to the first third of the 20th century in the context of the European art processes. The analysis of the artistic features of numerous synagogical and household items of the ritual purpose revealed the main trends of particular styles spread, especially baroque and historicism. Special attention is paid to the sources and the artistic inspiration of Jewish art in Galicia. The main circumstances that influenced the development of Jewish art are determined, namely the isolation of the Jewish community, the traditional ideological and semantic load of the monuments, the abidance by the halakhic rules, scriptures on the creating things for ritual and ceremonial purposes, keeping the old traditions in the choice of form, the nature of ornamentation, strict selection of decorating themes and in particular cases even the reproduction of archaic forms. While maintaining the traditional form, the ideological and semantic load for the majority of works of applied arts of the Jewish community of Galicia in the 18th century – the first third of the 20th century, the choice of a composite structure, grouping and ornamental motifs interpretation is influenced by the stylistic effects of Western art. The numerous preserved monuments indicate the openness of masters to the outside art influences, borrowing and basic elements quoting and leading Western styles tendencies as well as Ukrainian art.
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Soltes, Ori Z. "Radicant Israeli Art: From Past to Future." Arts 9, no. 1 (February 6, 2020): 16. http://dx.doi.org/10.3390/arts9010016.
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Mieke Bal’s concept of “migratory aesthetics” and the observation by Saloni Mathur and Anne Ring Peterson that “traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration” perfectly encompass the phrase “Jewish art”, and within that difficult-to-define subject, Israeli art (which, among other things, is not always “Jewish”). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of “Israeli art”. Nothing could be more appropriate to the discussion of Israeli art, or to the larger definitional problem of “Jewish art” than to explore it through Nicolas Bourriaud’s botanical metaphor of the “radicant”, and thus the notion of “radicant art”. The important distinction that Bourriaud offers between radical and radicant plants—whereby the former type depends upon a central root, deep-seated in a single nourishing soil site, whereas the latter is an “organism that grows its roots and adds new ones as it advances…” with “…a multitude of simultaneous or successive enrootings”—is a condition that may be understood for both Israeli and Jewish art, past and present: Aldouby’s notion that the image of the Wandering Jew offers the archetypal radicant, informs both the “altermodernity” concept and Israeli art.
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Carruthers, Jo. "Melodrama and the ‘art of government’: Jewish Emancipation and Elizabeth Polack’s Esther, the Royal Jewess; or The Death of Haman!" Literature & History 29, no. 2 (October 19, 2020): 144–63. http://dx.doi.org/10.1177/0306197320945947.
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This article challenges historians’ representations of working-class Jewish attitudes to emancipation in the early nineteenth century through a reading of Elizabeth Polack’s 1835 melodrama, Esther, the Royal Jewess, or the Death of Haman! Low expectations of working-class political engagement and the working-class genre of the melodrama are challenged by the astute political content of Polack’s play. Its historical and political value is revealed by placing the play within the tradition of the purimspiel, the Jewish genre that traditionally explores Jewish life under hostile government. Reading the play alongside Walter Benjamin’s writings on the disparaged German melodramatic genre of the trauerspiel enables a finely articulated reading of its complex exploration of issues of sovereignty, law, and religious and political freedom.
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Sandler, Florence. "A Jewish Encounter with Arthurian Romance." Arthuriana 12, no. 2 (2002): 69–77. http://dx.doi.org/10.1353/art.2002.0041.
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Bukauskaitė, Evelina. "Gatherings of Jewish Artists in Interwar Lithuania." Art History & Criticism 17, no. 1 (November 15, 2021): 17–30. http://dx.doi.org/10.2478/mik-2021-0002.
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Summary The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.
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Kotlyar, Eugeny. "Jewish Childhood Transformed: Through the Looking Glass of Art and Visual Representation in Pre- and Post-Revolutionary Russia." IMAGES 12, no. 1 (October 24, 2019): 33–55. http://dx.doi.org/10.1163/18718000-12340114.
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Abstract The present article studies the thematic ways in which Jewish childhood was represented in Russian Jewish art and visual media from the 1850s to the 1930s. During this period, Russian Jewry was undergoing important transformations. It saw the establishment of a traditional model of religious life, a subsequent process of modernization and acculturation, and finally the education of the “New Jew” as part of post-Revolutionary secular culture, as well as the seeding of extreme forms of radicalization that would develop in the Soviet era. Jewish art and visual media were always a documentary means of representing collective ideals, key among which was the value associated with Jewish children’s future. The images preserved in art, photography, and print show how diligent study for boys and young men was extolled in traditional communities; this resulted in the formation of an intellectual elite that served as a bulwark of religious and spiritual self-consciousness against outside cultural influences. Along with historical-statistical studies and memoirs, these images recreate a psycho-emotional and social background for the traditional model of children’s education. On the one hand, this model perpetuated the lifestyle and values established over the centuries, yet on the other, it sparked charges of anachronism and fanaticism, which intensified the antagonism of Russian society toward its Jewish minority. The same model proved to be extremely influential for the Jewish masses; it came by its iconic visual representation in various “Cheder” compositions and portraits of the “Talmudist Iluy.” Both types of works brought out the value of religious education. Later artistic depictions demonstrated that upon passing through the grinder of the Soviet atheist system, this model inspired the zeal that Jews had for secular education and the prospect of their children’s being granted equal opportunity, resulting in the loss of their ethno-cultural identity in the new Soviet reality.
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Reed, Annette Yoshiko. "ABRAHAM AS CHALDEAN SCIENTIST AND FATHER OF THE JEWS: JOSEPHUS, ANT. 1.154-168, AND THE GRECO-ROMAN DISCOURSE ABOUT ASTRONOMY/ASTROLOGY." Journal for the Study of Judaism 35, no. 2 (2004): 119–58. http://dx.doi.org/10.1163/157006304773787447.
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AbstractThis article analyzes Josephus' approach to Abraham and astronomy/astrology in Ant. 1.154-168. This retelling of Genesis 12 describes Abraham as inferring the one-ness of God from the irregularity of the stars, thereby implying his rejection of "the Chaldean science" for Jewish monotheism. Soon after, however, Josephus posits that the patriarch transmitted astronomy/astrology to Egypt, appealing to the positive connotations of this art for apologetic aims. Towards explaining the tension between these two traditions, I first map the range of early Jewish traditions about Abraham and the stars, and then consider the Hellenistic discourse about astral wisdom as the domain of ancient "barbarian" nations, as it shaped Hellenistic Jewish traditions that celebrate Abraham's astronomical/astrological skill. I conclude with Josephus' own cultural context, proposing that the attitudes towards astronomy/astrology among his Roman contemporaries may help to account for the ambivalence in his characterization of Abraham as both Chaldean scientist and father of the Jews.
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Shandler, Jeffrey. "Museums, Memory, And The Imaginary: Jewish Homes Of The Past In Contemporary Artworks." AJS Review: The Journal of the Association for Jewish Studies 47, no. 2 (November 2023): 419–43. http://dx.doi.org/10.1353/ajs.2023.a911529.
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Abstract: Museums provide prominent encounters with past Jewish domesticity. The most provocative encounters appear in contemporary art installations by Christian Boltanski, Simon Fujiwara, Maira Kalman and Alex Kalman, Elaine Reichek, Ellen Rothenberg, the Sala-Manca Group, and Maya Zack that variously evoke, conjure, or problematize Jewish home life in former times. Unlike historic residences or re-creations staged for historical or ethnographic exhibitions, these artworks are entirely “at home” in the museum, where they simultaneously present and interrogate notions of Jewish domesticity. This attention to artworks looks beyond the primary focus of most historians’ studies of Jewish homes, which examine the social and cultural contexts of actual houses of a bygone era, or the work of scholars in various fields who explore Jewish domestic practices as expressions of a collective identity. The artworks in question scrutinize what it has meant for Jews to feel “at home” and reveal how the imagination figures in representations of bygone Jewish domestic life as memory sites.
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Bloom, Lisa E. "Jewish “Ghosts”: Judit Hersko and Susan Hiller and the Feminist Intersectional Art of Post-Holocaust Memory." Arts 13, no. 2 (February 29, 2024): 50. http://dx.doi.org/10.3390/arts13020050.
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This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war.
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Mengouchi, Meryem. "Jewish Community in Maghrebi Art (Music and Cinema)." Revue plurilingue : Études des Langues, Littératures et Cultures 6, no. 1 (December 29, 2022): 109–17. http://dx.doi.org/10.46325/ellic.v6i1.83.
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The idea of a Jewish-Muslim community sounds odd in the twenty-first century while a few decades earlier it was an ordinary phenomenon in the Maghreb countries. The Jewish community who lived in North Africa before the conflict of the middle east yearns for a return to Maghreb countries which they consider as their home and part of their identity. This paper exposes the cohabitation of the two communities duing the colonial period. The reasons of the success of cohabitation are to be explored briefly with a small theoretical interpretation. Jews today are rejected in North African countries but history witnesses the existence of a Maghrebi Jewish community which is discussed in two cases in this research work, the first one is the case of Algerian Châabi music performed by Jewish artists, and Tunisian film Un Été a la Goulette, which shows three families from the three religions living together. Finally an analysis of the reasons is conducted to find out whether the reason of such cleavage is cultural or political. Throughout the analysis it is argued that this cohabitation broke the rules of sameness set by the colonizer in both countries. Problems between the two social groups arose after the naturalization of the Jews during the French colonization of Algeria then the invention of the country of Israel. The film depicts Tunisia as a melting pot of different cultures which manage to live together peacefully. The phenomenon is explained using the concept of the Carnivalesque by Russian philosopher Mikhail Bakhtin thus referring such harmony to the impact of segregation imposed by the colonizer. The analysis of whether the conflict is political or religious includes arguments by scholars like Benjamin Stora. Résumé L'idée d'une communauté judéo-musulmane semble étrange au XXIe siècle alors que quelques décennies plus tôt c'était un phénomène banal dans les pays du Maghreb. La communauté juive qui vivait en Afrique du Nord avant le conflit du Moyen-Orient aspire à un retour dans les pays du Maghreb qu'elle considère comme sa patrie et faisant partie de son identité. Cet article expose la cohabitation des deux communautés durant la période coloniale. Les raisons du succès de la cohabitation sont à explorer brièvement avec une petite interprétation théorique. Les Juifs sont aujourd'hui rejetés dans les pays d'Afrique du Nord mais l'histoire témoigne de l'existence d'une communauté juive maghrébine qui est abordée dans deux cas dans ce travail de recherche, le premier est le cas de la musique algérienne Châabi interprétée par des artistes juifs, et du film tunisien Un Été a la Goulette, qui montre trois familles des trois religions vivant ensemble. Enfin une analyse des raisons est menée pour savoir si la raison d'un tel clivage est culturelle ou politique. Tout au long de l'analyse, il est avancé que cette cohabitation a enfreint les règles d'uniformité établies par le colonisateur dans les deux pays. Des problèmes entre les deux groupes sociaux sont apparus après la naturalisation des Juifs lors de la colonisation française de l'Algérie puis de l'invention du pays d'Israël. Le film dépeint la Tunisie comme un creuset de cultures différentes qui parviennent à cohabiter sereinement. Le phénomène est expliqué à l'aide du concept du Carnivalesque par le philosophe russe Mikhaïl Bakhtine référant ainsi cette harmonie à l'impact de la ségrégation imposée par le colonisateur. L'analyse de savoir si le conflit est politique ou religieux comprend des arguments d'érudits comme Benjamin Stora.
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Gedo, John E. "Art Alone Endures." Journal of the American Psychoanalytic Association 40, no. 2 (April 1992): 501–16. http://dx.doi.org/10.1177/000306519204000209.
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Sigmund Freud, a passionate collector of antiquities, often treated these objects as animate beings. He described such blurring of boundaries between persons and things in the protagonist of W. Jensen's novella, Gradiva. Freud began collecting when his father died, but his unusual attitude toward artefacts was established much earlier, presumably as a consequence of repeated early disappointments in human caretakers. It is postulated that this adaptive maneuver was not simply a displacement of love and hate, but a turning away from vulnerability in relationships, toward attachments over which he might retain effective control. The Freud Collection is largely focused on Greco-Roman and Egyptian objects. Freud's profound interest in classical civilization was established in childhood; he was particularly concerned with the struggle between Aryan Rome and Semitic Carthage, a conflict in which he identified with both sides. This ambivalence reflected growing up within a marginal Jewish family in a Germanic environment. Commitment to classical ideals represented an optimal manner of bridging these contrasting worlds. Egyptian artefacts were, for Freud, links to the prehistory of the Jewish people; they also represent an era when maternal deities found their proper place in man's pantheon—an echo of Freud's prehistoric past.
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Yuval-Hacham, Noa. "Art and Identity in Late Antique Synagogues of the Roman-Byzantine Diaspora." Arts 8, no. 4 (December 10, 2019): 164. http://dx.doi.org/10.3390/arts8040164.
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Late antiquity witnessed the increased construction of synagogues in the Jewish diaspora of the Roman-Byzantine world. Although not large in number, these synagogues were impressive and magnificent structures that were certainly conspicuous in the urban landscape, especially when constructed within a central location. This paper focuses on mosaic carpets discovered at these synagogues, to discern their distinguishing features through a comparative perspective. Two focal points are examined: on the one hand, local Roman-Byzantine mosaics in civic and religious buildings, and on the other hand, Jewish mosaics carpets in Palestinian synagogues. This comparison reveals several clear distinctions between the Jewish diasporic mosaic carpets and the other two groups of mosaics, that broaden our understanding of the unique nature of Jewish art in the Roman-Byzantine diaspora in particular, and of Jewish diasporic identity in late antiquity in general.
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Lehnertz, Andreas. "Dismantling a Monopoly: Jews, Christians, and the Production of Shofarot in Fifteenth-Century Germany." Medieval Encounters 27, no. 4-5 (December 22, 2021): 360–86. http://dx.doi.org/10.1163/15700674-12340112.
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Abstract This essay presents a case study from Erfurt (Germany) concerning the production of shofarot (i.e., animal horns blown for ritual purposes, primarily on the Jewish New Year). By the early 1420s, Jews from all over the Holy Roman Empire had been purchasing shofarot from one Christian workshop in Erfurt that produced these ritual Jewish objects in cooperation with an unnamed Jewish craftsman. At the same time, two Jews from Erfurt were training in this craft, and started to produce shofarot of their own making. One of these Jewish craftsmen claimed that the Christian workshop had been deceiving the Jews for decades by providing improper shofarot made with materials unsuitable for Jewish ritual use. The local rabbi, Yomtov Lipman, exposed this as a scandal, writing letters to the German Jewish communities about the Christian workshop’s fraud and urging them all to buy new shofarot from the new Jewish craftsmen in Erfurt instead. This article will first examine the fraud attributed to the Christian workshop. Then, after analyzing the historical context of Yomtov Lipman’s letter, it will explore the underlying motivations of this rabbi to expose the Christian workshop’s fraud throughout German Jewish communities at this time. I will argue that, while Yomtov Lipman uses halakhic explanations in his letter, his chief motivation in exposing this fraud was to discredit the Christian workshop, create an artificial demand for shofarot, and promote the new Jewish workshop in Erfurt, whose craftsmen the rabbi himself had likely trained in the art of shofar making.
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Jeffrey, David Lyle. "Meditation and Atonement in the Art of Marc Chagall." Religion and the Arts 16, no. 3 (2012): 211–30. http://dx.doi.org/10.1163/156852912x635205.
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Abstract Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jewish and Christian understandings of meditation and visual commentary on the Scriptures, prophetically calling both traditions to repentance and reconciliation.
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MALAGUTI, Francesco. "GIORDANO BRUNO AND JEWISH THOUGHT: RECEPTION AND REINTERPRETATION." International Journal of Theology, Philosophy and Science 5, no. 8 (May 27, 2021): 64–84. http://dx.doi.org/10.26520/ijtps.201.5.8.64-84.
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This article is focused on the philosopher Giordano Bruno (1548-1600) and the references to Jewish culture in his oeuvre. We discuss about Bruno’s reception of Jewish thought and describe this subject in a comprehensive way. We highlight Bruno’s view on the Jews and their religion, also explaining the reasons behind his polemic against the Jewish people. Furthermore, we underline the influence of the Kabbalistic tradition and Jewish philosophy on various aspects of Brunian thought. Specifically, we discuss about the use of the letters of the Hebrew alphabet in Bruno’s works on the art of memory, the relation between Brunian infinitist cosmology and Kabbalistic concepts such as ensoph and the ten sephirot, the relation between Brunian thought and the philosophical theories of Avicebron, Moses Maimonides, Hasdai Crescas and Leo the Hebrew.