Journal articles: 'Jews in art'

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Debby, Nirit Ben-Aryeh. "Jews in Art and Society." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 131–33. http://dx.doi.org/10.3828/aj.2018.14.10.

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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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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.

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Qambarov, Abdumutal Ahadjonovich, and Mavluda Mamasodikovna Najmetdinova. "The Role Of Bukhara Jews In The Development Of Natiaonal Makom Art." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 747–53. http://dx.doi.org/10.37547/tajssei/volume03issue04-120.

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This article analyzes from a scientific and philosophical point of view that the Jews of Bukhara, along with the Uzbek makoms, have made a worthy contribution to the development of Shashmakom to this day through the work of masters of their profession, hafiz, musicians and composers.

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Debby, Nirit Ben-Aryeh. "Art and Sermons: Dominicans and the Jews in Florence’s Santa Maria Novella." Church History and Religious Culture 92, no. 2-3 (2012): 171–200. http://dx.doi.org/10.1163/18712428-09220001.

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This paper analyzes perceptions of the Jews by the Dominican friars in latemedieval Florence and focuses on the encounter between the Christian and Jewish worlds as manifested in Santa Maria Novella church in the oral and visual traditions. The intention is to examine the representations of Jews in a particular context, that of an Italian urban society in the late fourteenth century, especially in the context of mendicant activity, by studying both preaching and art in that context.The article shows the similarities and differences between the visual and the verbal in relation to the different media discussed, and analyzes the complexity of the Dominican perception of the Jews.

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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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Joselit, Jenna Weissman. "Bezalel Comes to Town: American Jews and Art." Jewish Studies Quarterly 11, no. 4 (2004): 354. http://dx.doi.org/10.1628/094457004783500536.

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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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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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Silverman, Lisa. "Leopoldstadt, Judenplatz, and Beyond." East Central Europe 42, no. 2-3 (January 20, 2015): 249–67. http://dx.doi.org/10.1163/18763308-04202004.

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Discussions of Jews’ relationship to Vienna before 1938 tend to focus on their consumption of Viennese culture, including music, art, literature, and intellectual innovation. However, understanding place as a formative aspect of material culture can help us see another crucial aspect of how Jews—individually and collectively—came to terms with their place in the city. This essay examines the significance of place for Jews in Vienna through a variety of primary sources related to the Judenplatz, the square which is today the city’s premier site of Jewish memory, and Leopoldstadt, the district that encompasses Vienna’s most densely populated Jewish residential area. Memoirs, newspaper articles, caricatures, and maps written by both Jews and non-Jews reveal how the significance of these two areas changed over time, as they became deeply intertwined with the self-perceptions of both Jews and non-Jews. Analyzing how the Judenplatz and Leopoldstadt engaged Jewish difference over time helps us understand how the presence or absence of Jews remained a persistent dialectic in determining the meaning of place in Vienna.

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Greenberg, Reesa. "Restitution Exhibitions: Issues of Ethnic Identity and Art." Intermédialités, no. 15 (October 13, 2010): 105–17. http://dx.doi.org/10.7202/044677ar.

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This essay looks at post 2005 restitution exhibitions of art believed or known to be owned by Jews stolen during National Socialist times in order to examine complex questions and layered relationships involving private property, public institutions and museum display.

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Kotliar, Elena Romanovna. "Jewish branch of cultural text of the Crimean ethnic ornament." Человек и культура, no. 5 (May 2021): 1–12. http://dx.doi.org/10.25136/2409-8744.2021.5.33470.

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The subject of this research is the continuum of ethnic symbols of the ornament of the Crimean Jews. The object is the traditional decorative and applied art of the peoples of Crimea following Judaism: Ashkenazi Jews, Karaite and Krymchaks. The symbolism of ethnic art is viewed based on the analysis of traditional decor. The article employs the methods of comparative analysis, analysis of previous research, method of synthesis in conclusions pertinent to connotations of symbols. The author explores the morphology and semantics of visual symbols in decorative and applied art of the aforementioned people, as well as connotations of symbols. Special attention is given to aspects that characterize polyethnic cultural landscape of Crimea in the context of phylogenesis. The main conclusions are as follows:   1. Crimea is a polyethnic region with various cultural processes – from reception to inculturation and integration of ethnoses, which ultimately formed the Crimean cultural landscape. Its peculiarities are represented by ethnic ornament, such as decorated household items and ritual attributes   2. Symbolism of the elements of traditional art of Ashkenazi Crimean Jews, Karaite and Krymchaks has common connotations due to the Torah that underlies the religious confession of all three ethnoses, as well as similar morphology. The art of Karaite and Krymchaks are more identical to each other than to Jewish. The author’s special contribution lies in systematization of the morphology of visual symbols in the art of the three ethnoses. The scientific novelty consists in carrying out a comparative analysis of the art of three Crimean ethnoses, revealing foundations of the genesis and continuum of its elements, their similarities and differences.

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Sabar, Shalom. "The Preservation and Continuation of Sephardi Art in Morocco." European Judaism 52, no. 2 (September 1, 2019): 59–81. http://dx.doi.org/10.3167/ej.2019.520206.

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While it is widely known that the Jews of medieval Spain carried with them their language, literature and other traditions to the countries in which they settled following the Expulsion in 1492, little research has been conducted on the preservation of their material culture and the visual arts. In this article, these aspects are examined vis-à-vis the Judaic artistic production and visual realm of the Sephardi Jews in Morocco, who adhered to these traditions perhaps more staunchly than any other Sephardi community in modern times. The materials are divided into several categories which serve as an introduction to specific topics that each require further research. These include Hebrew book printing, Jewish marriage contracts (ketubbot), Hebrew manuscript decoration, clothing and jewellery relating to the world of the Sephardi-Moroccan woman and the interior of the home, and ceremonial objects for the synagogue.

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Amishai-Maisels, Ziva. "Jews in American Art: Social Concern vs. Anti-Semitism." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 141–45. http://dx.doi.org/10.3828/aj.2018.14.10c.

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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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Hońdo, Leszek. "The oldest tombstones in the Jewish cemetery in Tarnow." Humanities and Cultural Studies 2/2021, no. 1 (February 22, 2021): 1–15. http://dx.doi.org/10.5604/01.3001.0014.7383.

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The Jewish cemetery in Tarnów dates from the 16th century. It has an extremely valuable group of tombstones from the 17th, 18th and early 19th century. They are monuments of sepulchral art as well as cultural testaments — not only of Tarnovian Jews, but generally of Polish Jews. The article presents the oldest tombstones in the cemetery. The preserved tombstones originate only from the second half of the 17th century.

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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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Horowitz, Jacob, Mordechai Klein, and Shaul Sukenik. "Cryoglobulinemia and hepatitis B markers in north African Jews with Raynaud's disease." Arthritis & Rheumatism 29, no. 8 (August 1986): 1026–28. http://dx.doi.org/10.1002/art.1780290813.

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Cahn, Walter. "Saracens, Demons and Jews: Making Monsters in Medieval Art (review)." Jewish Quarterly Review 96, no. 3 (2006): 447–49. http://dx.doi.org/10.1353/jqr.2006.0024.

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AvcioGlu, N. "Review: Saracens, Demons and Jews: making Monsters in Medieval Art." Journal of Semitic Studies 50, no. 1 (March 1, 2005): 236–38. http://dx.doi.org/10.1093/jss/fgi029.

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Davis, James. "Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace." European Legacy 21, no. 5-6 (April 6, 2016): 600–601. http://dx.doi.org/10.1080/10848770.2016.1169595.

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Schur, Yechiel Y. "Cultural Exchange: Jews, Christians and Art in the Medieval Marketplace." Social History 39, no. 4 (October 2, 2014): 573–74. http://dx.doi.org/10.1080/03071022.2014.952548.

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Chametzky, Peter. "Turks, Jews, and Other Germans in Contemporary Art: An Introduction." Massachusetts Review 60, no. 4 (2019): 655–81. http://dx.doi.org/10.1353/mar.2019.0098.

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Kelenhegyi, Andor. "Cultural exchange: Jews, Christians and art in the medieval marketplace." European Review of History: Revue européenne d'histoire 21, no. 3 (May 4, 2014): 428–29. http://dx.doi.org/10.1080/13507486.2014.921525.

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Cooper, Levi. "NAPOLEONIC FREEDOM OF WORSHIP IN LAW AND ART." Journal of Law and Religion 34, no. 1 (April 2019): 3–41. http://dx.doi.org/10.1017/jlr.2019.15.

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ABSTRACTNapoleon's most famous innovation in his legendary military career was the use of the daunting Grande Armée with an emphasis on speed, maneuverability, and maintaining the offensive. Yet Napoleon understood that while skirmishes were won or lost on the battlefield, the real war lay in public perception. To that end, Napoleon used art and cultural treasures as part of his arsenal in order to create the perception of victory, regardless of the outcome of any particular campaign. Examining contemporary French artistic representations of Napoleon granting freedom of worship to religious groups, this article analyzes artwork as a tool for fashioning and communicating legal narrative. Popular visual arts are mined for meaning, painting a portrait of the legal and cultural setting of these creative works. The partisan artwork demonstrates how Napoleon's artists depicted freedom of worship as the freedom—granted to all faiths—to worship Napoleon. It is noted that Jews feature disproportionately in the Empire period's depictions of freedom of worship. This is surprising, as the Jewish community was numerically insignificant and hardly influential in Napoleon's realm. This article argues that in addition to broadcasting religious tolerance, Napoleonic artwork used Jews and symbols like Moses and tablets of law to fashion a narrative of law that foregrounded the legal legitimacy of Napoleon's rule: Napoleon's regime is legally just; the enlightened ruler affords rights and liberties to all his subjects; divine Napoleon is the new lawgiver.

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Barkai, Sigal. "Neurotic Fantasy: The Third Temple As a Metaphor in the Contemporary Israeli Art of Nira Pereg and Yael Bartana." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 238–51. http://dx.doi.org/10.1177/2347798919872586.

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In the political reality of Israel, some symbols lie at the heart of the political, religious, national, and historical discourse that characterize the peoples and cultures living on the Israeli-Palestinian soil. Among these, the Temple Mount in Jerusalem is one of the most complex and conflictual symbols. The multiple religious claims to the Temple Mount—Jewish, Christian, and Muslim—are the subject of extensive study, but this article focuses on their reflection in contemporary Israeli art. In traditional Jewish art, the visual representations of the Temple or of Jews praying nearby expressed the longing of the Jews for generations to return to the Mount. In contrast, Yael Bartana and Nira Pereg view the multiple socio-political currents and religious rituals surrounding the Temple Mount as a reflection of the internal public debate regarding the face of the Israeli society today. This article discusses the contribution of their visual art to a conscious and aware discourse about the Israeli society and the underground currents that shape its contemporary identity. The analysis of their work tracks a “politics of aesthetics”—interpretation of the images within a socio-political context—and draws upon Israeli sociology, art history, and visual culture. In-depth personal interviews with the artists also inform the analysis.

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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.

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Berger, Pamela. "Jewish-Muslim Veneration at Pilgrimage Places in the Holy Land." Religion and the Arts 15, no. 1-2 (2011): 1–60. http://dx.doi.org/10.1163/156852911x547466.

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AbstractFor millennia human communities have designated certain sites as sacred and nowhere more so than in the Holy Land. The Bible records that Canaanites worshipped in “high places,” and the prophets railed against the Israelites for continuing the practice. Jesus castigated the Pharisees for adorning the tombs of the prophets. When Jews were expelled from Jerusalem, those who remained on the land did not abandon their devotion to the holy sites. When the Muslims arrived they continued the practice of visiting the tombs of those figures mentioned in both the Bible and the Quran. Throughout the Middle Ages and into the modern period Muslims and Jews wrote about their visits to these jointly-venerated tombs. Jews made illustrated scrolls, wall hangings, and other works of art depicting these sites, representing the shrines with prominent Islamic crescents on top, an indication that Jewish viewers felt no discomfort at the use of this iconography. The Jewish valorization of the Islamic crescent atop shrines common to Jews and Muslims reflects a relationship very different from that existing between the two cultures today.

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Kontje, Todd. "Thomas Mann's Wälsungenblut: The Married Artist and the “Jewish Question”." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 109–24. http://dx.doi.org/10.1632/pmla.2008.123.1.109.

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This essay examines Thomas Mann's response to the “Jewish question” by focusing on a phase when he struggled to come to terms in his art with the repression of his homosexual desires and with his marriage to the daughter of assimilated Jews. Mann's attitude toward the Jews is primarily hostile in the controversial novella Wälsungenblut (The Blood of the Walsungs), in which he projects anti-Semitic stereotypes onto distorted images of his wife and new in-laws. In the novel Königliche Hoheit (Royal Highness), Mann produces a more sympathetic portrait of his wife by giving her an ethnic background closely resembling his mother's. Mann's response to the Jewish question is linked to his tendency to think in racial categories; his ambivalence toward the Jews stems from his ambivalence toward himself as an artist with repressed homosexual desires and an admixture of foreign “blood.”

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von Ehrenkrook, Jason. "Sculpture, Space and the Poetics of Idolatry in Josephus' Bellum Judaicum." Journal for the Study of Judaism 39, no. 2 (2008): 170–91. http://dx.doi.org/10.1163/157006308x252795.

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AbstractJosephus' writings depict a rather tumultuous relationship between Jews and figurative art, especially sculpture. When taken at face value, this material seems to indicate that Jews during the Second Temple period interpreted the second commandment as a prohibition against any form of figural representation, regardless of context or function. Using his Bellum Judaicum as a test case, I aim to complicate this picture by shifting attention away from the referential value of these so-called iconoclastic narratives to their rhetorical function, i.e. to the way in which these narratives are uniquely shaped to contribute to larger rhetorical themes in Bellum.

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Fowler, Cynthia. "A Progressive View on Religion and Modern Art." Religion and the Arts 19, no. 5 (2015): 488–530. http://dx.doi.org/10.1163/15685292-01905002.

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This article examines the Religious Art of Today exhibition, originally held in 1944 at Boston’s Institute of Modern Art and then reformulated for the Dayton Art Institute in Ohio. The exhibition was eclectic in that it included a wide range of artists and a diversity of faiths, and engaged the debate held among museum professionals about the relationship between religion and modern art. The article focuses closely on Catholic, Jewish, and Navajo art included in the exhibition. The IMA’s commitment to the figurative tradition afforded artists the opportunity to explore their identities—as Jews, as Catholics, as Navajos—using recognizable religious subjects. That the works in the exhibition were selected as representative of modern art resulted in a convergence of discourses related to modern art with those of religious/cultural identity.

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Fischman. "Using Yiddish: Language Ideologies, Verbal Art, and Identity among Argentine Jews." Journal of Folklore Research 48, no. 1 (2011): 37. http://dx.doi.org/10.2979/jfolkrese.48.1.37.

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Stern, Karen B. "Jews, Ships, and Death: A Consideration of Nautical Images in Jewish Mortuary Contexts." IMAGES 11, no. 1 (December 5, 2018): 189–209. http://dx.doi.org/10.1163/18718000-12340087.

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AbstractRecurrences of ancient ship carvings and drawings in Jewish burial caves are curious phenomena, which rarely capture the attention of scholars. Few narrative Jewish texts, which might otherwise illuminate this pattern, explicitly describe any link between ships and death. The ubiquity of nautical images in graffiti and monumental art throughout the ancient Mediterranean, moreover, obscures their particular significance in any mortuary context, whether associated with Jews or their neighbors. This article suggests that consistent appearances of ship imagery in Jewish burial contexts throughout time and across distant regions, attest to the varied iconographic and ideational significances of ships to Jews within mortuary settings. Cross-cultural similarities between acts of drawing, carving, and commissioning ship images inside and around commemorative spaces, this article argues further, document corresponding continuities between the mortuary activities and beliefs of Jews and their Egyptian, Greco-Roman, and Christian neighbors throughout the ancient Mediterranean.

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Levinson, Julian. "On the Uses of Biblical Poetics: Protestant Hermeneutics and American Jewish Self-Fashioning." Prooftexts 40, no. 1 (2023): 190–226. http://dx.doi.org/10.2979/ptx.2023.a899253.

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Abstract: This article shows how new trends in Protestant biblical hermeneutics in nineteenth-century America helped to raise the cultural status of modern-day Jews, while inspiring bold new directions in American Jewish literary culture. The interpretive framework under discussion emerged in the work of Bishop Robert Lowth and Johann Gottfried Herder, whose studies of biblical poetry became highly influential in the United States when they were both published at the height of the Second Great Awakening. By reconceptualizing biblical poetry (especially in the works of the biblical prophets) as sublime art, their approach created the possibility for valorizing the biblical tradition for its aesthetic power alongside its religious teachings. Since Jews were commonly seen as continuous with biblical Israel, this approach meant that Jews could be seen as heirs to a glorious literary tradition, a point that American Jewish poets, such as Emma Lazarus, emphasized when they launched their own poetic experiments modeled on the biblical prophets.

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Gao, Xiaojiang, Peter Stastny, Chaim Brautbar, Y. Naparstek, Ephraim Gazit, A. Livneh, and Raphael Segal. "A variant of HLA–DR4 determines susceptibility to rheumatoid arthritis in a subset of Israeli Jews." Arthritis & Rheumatism 34, no. 5 (May 1991): 547–51. http://dx.doi.org/10.1002/art.1780340506.

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Mendelsohn, Amitai. "Raida Adon: Strangeness, a Conversation between Raida Adon and Dr. Amitai Mendelsohn, Israel Museum’s Senior Curator for Israeli Art." Arts 9, no. 4 (December 15, 2020): 130. http://dx.doi.org/10.3390/arts9040130.

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Wolfthal, Diane. "Joseph Shatzmiller. Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace." American Historical Review 119, no. 4 (October 2014): 1333–34. http://dx.doi.org/10.1093/ahr/119.4.1333.

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Szpiech, Ryan. "Art of Estrangement: Redefining Jews in Reconquest Spain by Pamela A. Patton." Revista Hispánica Moderna 68, no. 1 (2015): 105–7. http://dx.doi.org/10.1353/rhm.2015.0004.

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Rowe, Nina. "Saracens, Demons, and Jews: Making Monsters in Medieval Art. Debra Higgs Strickland." Speculum 79, no. 4 (October 2004): 1155–58. http://dx.doi.org/10.1017/s0038713400087388.

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Buda, Zsofia. "Art of Estrangement: Redefining Jews in Reconquest Spain. By Pamela A. Patton." Jewish History 29, no. 1 (March 2015): 101–4. http://dx.doi.org/10.1007/s10835-015-9231-8.

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Tereshchenko, Tatiana. "Images of Ethnic Others in Western Medieval Art." History in flux 5, no. 5 (December 24, 2023): 35–53. http://dx.doi.org/10.32728/flux.2023.5.2.

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This paper seeks to provide an overview of the characteristic traits of the images of the ethnic Others, the connection of these images to the fundamental ethic and aesthetic categories, as well as the political events of the medieval epoch. Medieval art depicted various ethnic groups like Jews, Saracens, Mongols, Blacks, and eventually, people from the New World. Their representations share both common and distinct characteristics. Common traits encompass distinct appearances, clothing details, associated attributes, and their correlation with political events. They also exhibit imprecision, conventionality, and fluidity in defining the boundaries between these different groups. Moreover, they reflect cultural and political influences and blend real and fantastical elements, often intertwined with religious and ethical categories, which were fundamental in the medieval worldview. Herewith, the images of the Others also had some specific traits.

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Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (December 20, 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.

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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.

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Neal, Lynn S. "Christianizing the Klan: Alma White, Branford Clarke, and the Art of Religious Intolerance." Church History 78, no. 2 (May 28, 2009): 350–78. http://dx.doi.org/10.1017/s0009640709000523.

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According to the biblical book of Daniel chapter 3, King Nebuchadnezzar, who ruled the Babylonian Empire where the Jews lived in exile, commissioned the building of a ninety-foot golden image and commanded the people to worship it. Refusal to comply meant one's death in a fiery furnace. While most obeyed the king's dictate, the story recounts how Shadrach, Meschach, and Abednego, Jews who worked for the king, refused to worship the image and remained loyal to their God. In response, the king bade his men to stoke the furnace and burn the defiant rebels. To the king's amazement, the trio appeared unscathed amid the red-hot flames, and he glimpsed a mysterious fourth figure with them. Seeing this, the king called the men to come out of the furnace and they emerged unharmed, protected, according to the text, by the fourth figure, an angel. The story depicts Shadrach, Meschach, and Abednego as heroes who withstood the forces of evil and witnessed the power of their God. It speaks to the fidelity of these men and to the intolerant nature of Nebuchadnezzar's faith. While this passage and its lessons may be familiar to many, in the 1920s they gained additional meanings that provide us with important insights into the workings of religious intolerance in the United States.

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Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.

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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian and European Jewry and the history of collections and donations to public museums.

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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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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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Laderman, Shulamit. "Two Faces of Eve: Polemics and Controversies Viewed Through Pictorial Motifs." IMAGES 2, no. 1 (2008): 1–20. http://dx.doi.org/10.1163/187180008x408564.

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AbstractThe appearance of the enigmatic woman-headed serpent in both Christian and Jewish art of the thirteenth century can be understood as a reflection of the historical developments of that period. The widespread influence of the Cathar/Albigensian dualistic heresy in the twelfth and thirteenth centuries brought about a strong Church reaction, and the Inquisition that eliminated the heresy. The Jews were caught in the middle of this inquisitorial campaign and, in order to defend themselves, had to disassociate themselves from the dualistic ideas expressed by the Kabbalah and at the same time also prove their allegiance to the Old Testament. Their use of particular Christian models in biblical and non-biblical illuminated manuscripts at that point in time may well be a graphic indication of the Jews' precarious position in medieval Christian society.

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Gruber, Ruth Ellen. "(Candle)sticks on Stone: The Representation of Women in Jewish Tombstone Art." Jewish Folklore and Ethnology 2, no. 1 (September 2023): 141–64. http://dx.doi.org/10.1353/jfe.2023.a928447.

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Abstract: Candles and candlesticks are a common and potent symbol on the gravestones of Jewish women because lighting the Sabbath candles is one of the three so-called “women’s commandments” carried out by female Jews; it is the only one easily represented in visual terms. This essay describes the author’s field research, photographic, and writing project, “(Candlesticks) on Stone,” carried out mainly in 2009–2011, to explore the variety of ways candles and candlesticks are depicted on women’s gravestones in Eastern Europe. It also questions the transmission of the candle-lighting tradition from her East European ancestors to later generations.

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Johnson, Eric. "Saracens, Demons, & Jews: Making Monsters in Medieval Art by Debra Higgs Strickland." Comitatus: A Journal of Medieval and Renaissance Studies 35, no. 1 (2004): 285–87. http://dx.doi.org/10.1353/cjm.2004.0008.

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Aron-Beller, Katherine. "Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace. By Joseph Shatzmiller." Jewish History 28, no. 2 (April 4, 2014): 221–23. http://dx.doi.org/10.1007/s10835-014-9204-3.

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Journal articles on the topic 'Jews in art'

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