Pub Date : 2024-07-25DOI: 10.1163/18718000-12340182
Reuven Gafni
This study focuses on one visual component within the envelope of the siddur (the Jewish prayer book) that has yet to receive scholarly attention: the artistic illustration appearing on its inner cover (for the siddur in Hebrew, on the first left page). Specifically, it examines the inner cover illustration of six modern Ashkenazi prayer books from Eretz Israel, delving into the marketing and ideological messages embedded within each illustration. The comparative study of these six Ashkenazi siddurim – most of which were created at a time when the liturgical and ideological design of the prayer and synagogue in Eretz Israel was being re-examined, affecting also the design and identity of each siddur – allows us to make an in-depth comparison between the different illustrations, placing each of them within a specific, comparative context.
{"title":"On the Ideological and Practical Significance of Siddur Inner Cover Illustrations in Modern Eretz Israel","authors":"Reuven Gafni","doi":"10.1163/18718000-12340182","DOIUrl":"https://doi.org/10.1163/18718000-12340182","url":null,"abstract":"<p><em>This study focuses on one visual component within the envelope of the siddur (the Jewish prayer book) that has yet to receive scholarly attention: the artistic illustration appearing on its inner cover (for the siddur in Hebrew, on the first left page). Specifically, it examines the inner cover illustration of six modern Ashkenazi prayer books from Eretz Israel, delving into the marketing and ideological messages embedded within each illustration. The comparative study of these six Ashkenazi</em> siddurim <em>– most of which were created at a time when the liturgical and ideological design of the prayer and synagogue in Eretz Israel was being re-examined, affecting also the design and identity of each siddur – allows us to make an in-depth comparison between the different illustrations, placing each of them within a specific, comparative context.</em></p>","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141776806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-02DOI: 10.1163/18718000-12340180
Dalia-Ruth Halperin
{"title":"The Kennicott Bible: A Masterpiece of Jewish Book Art, edited by Katrin Kogman-Appeland with contribution by Javier Del Barco and Maria Teresa Ortega-Monasterio","authors":"Dalia-Ruth Halperin","doi":"10.1163/18718000-12340180","DOIUrl":"https://doi.org/10.1163/18718000-12340180","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141021005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-12DOI: 10.1163/18718000-12340178
Larry Silver
While the prominence in twentieth-century painting of Henri Matisse and Pablo Picasso remains unquestioned, neither of these great artists could have emerged in their shared Parisian art world without the direct support of Jewish collectors and dealers. Foremost among the Jewish collectors of their earlier works were Americans living in Paris, especially the Steins: Leo, Gertrude, and Michael and Sarah Stein. While Leo followed by Michael and Sarah was an early purchaser of Matisse’s bold early Fauvist works, led by Bonheur de Vie (1905), Gertrude turned increasingly to Picasso, who painted her portrait (1906). Their support for Matisse was avidly seconded by the Cone sisters, whose extensive collection was donated intact to the Baltimore Museum of Art. Jews were also early adopters of French modern art in general as dealers. Chiefly led by the Rosenberg brothers, Léonce and Paul, prominent Jewish dealers during the teens also included the perceptive, if underfunded, Berthe Weill as well as the German immigrant Daniel-Henry Kahnweiler. Both of the latter gave crucial support to experimental art, the latter in particular to the art of Picasso’s Cubist phase (including a Cubist portrait of the dealer). In addition, a number of Jewish art critics served as influencers, supporting contemporary artists, albeit often castigating paintings by immigrant Eastern European Jewish artists, whom they viewed as outsiders. In their view, it was the multinational School of Paris’ often Jewish immigrants, against the greater, local School of France.
尽管亨利-马蒂斯和巴勃罗-毕加索在二十世纪绘画界的地位毋庸置疑，但如果没有犹太收藏家和经销商的直接支持，这两位伟大的艺术家都不可能在共同的巴黎艺术界崭露头角。在他们早期作品的犹太收藏家中，最重要的是居住在巴黎的美国人，尤其是斯坦夫妇：利奥、格特鲁德、迈克尔和萨拉-斯坦因。利奥、迈克尔和莎拉是马蒂斯早期野兽派大胆作品的早期买家，其中以《Bonheur de Vie》（1905 年）为首，而格特鲁德则越来越多地转向毕加索，毕加索为她画了肖像（1906 年）。她们对马蒂斯的支持得到了康恩姐妹的热烈响应，她们的大量收藏被完整地捐赠给了巴尔的摩艺术博物馆。犹太人也是法国现代艺术的早期经销商。以罗森伯格（Rosenberg）兄弟（莱昂斯和保罗）为首，十多岁时著名的犹太画商还包括敏锐但资金不足的贝尔特-威尔（Berthe Weill）以及德国移民丹尼尔-亨利-卡恩韦勒（Daniel-Henry Kahnweiler）。后者尤其支持毕加索立体主义阶段的艺术（包括一幅这位商人的立体主义肖像）。此外，一些犹太艺术评论家也发挥了影响作用，支持当代艺术家，尽管他们经常抨击东欧犹太移民艺术家的绘画，认为他们是局外人。在他们看来，巴黎的多国画派往往是犹太移民画派，与更伟大的法国本土画派相对立。
{"title":"What Matisse and Picasso Owed to Jewish Collectors and Dealers","authors":"Larry Silver","doi":"10.1163/18718000-12340178","DOIUrl":"https://doi.org/10.1163/18718000-12340178","url":null,"abstract":"<jats:italic>While the prominence in twentieth-century painting of Henri Matisse and Pablo Picasso remains unquestioned, neither of these great artists could have emerged in their shared Parisian art world without the direct support of Jewish collectors and dealers. Foremost among the Jewish collectors of their earlier works were Americans living in Paris, especially the Steins: Leo, Gertrude, and Michael and Sarah Stein. While Leo followed by Michael and Sarah was an early purchaser of Matisse’s bold early Fauvist works, led by Bonheur de Vie (1905), Gertrude turned increasingly to Picasso, who painted her portrait (1906). Their support for Matisse was avidly seconded by the Cone sisters, whose extensive collection was donated intact to the Baltimore Museum of Art. Jews were also early adopters of French modern art in general as dealers. Chiefly led by the Rosenberg brothers, Léonce and Paul, prominent Jewish dealers during the teens also included the perceptive, if underfunded, Berthe Weill as well as the German immigrant Daniel-Henry Kahnweiler. Both of the latter gave crucial support to experimental art, the latter in particular to the art of Picasso’s Cubist phase (including a Cubist portrait of the dealer). In addition, a number of Jewish art critics served as influencers, supporting contemporary artists, albeit often castigating paintings by immigrant Eastern European Jewish artists, whom they viewed as outsiders. In their view, it was the multinational School of Paris’ often Jewish immigrants, against the greater, local School of France.</jats:italic>","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140560351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-08DOI: 10.1163/18718000-12340179
Larry Silver
{"title":"Too Jewish or Not Jewish Enough: Ritual Objects and Avant-Garde Art at the Jewish Museum of New York, written by Jeffrey Abt","authors":"Larry Silver","doi":"10.1163/18718000-12340179","DOIUrl":"https://doi.org/10.1163/18718000-12340179","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140730136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-09DOI: 10.1163/18718000-12340175
Rachel E. Perry
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.
{"title":"Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”","authors":"Rachel E. Perry","doi":"10.1163/18718000-12340175","DOIUrl":"https://doi.org/10.1163/18718000-12340175","url":null,"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 <jats:italic>with</jats:italic> 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.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138562746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-09DOI: 10.1163/18718000-12340176
Mariann Farkas
While numerous scholars have analyzed the influence of immigration on Jewish visual culture, few have focused on the Hungarian-Israeli scene. This article seeks to resolve some of the lacunae surrounding expressions of Hungarian immigrant experiences in Israeli art by analyzing the Annunciation theme in Hedi Tarjan’s series Homage to Fra Angelico, which was painted in the 1980s and the 2000s. A woman artist with a complex Christian-Jewish identity, Tarjan expressed her cross-cultural and interfaith experiences in her paintings and can be regarded as a “Jewish Diasporist” in the sense elaborated in American artist R. B. Kitaj’s manifestos. The article concludes by arguing that Tarjan, as a Jewish artist who emigrated from Hungary to Israel, faced unique professional, cultural, and religious challenges.
虽然有许多学者分析了移民对犹太视觉文化的影响，但很少有人关注匈牙利-以色列场景。本文试图通过分析 Hedi Tarjan 于 20 世纪 80 年代至 2000 年代创作的《向弗拉-安杰利科致敬》系列作品中的 "圣母领报 "主题，解决以色列艺术中有关匈牙利移民经历表达的一些空白。塔扬是一位具有复杂基督教-犹太教身份的女艺术家，她在绘画中表达了自己的跨文化和跨宗教经历，可以被视为美国艺术家 R. B. Kitaj 宣言中所说的 "犹太散居者"。文章最后认为，作为从匈牙利移居以色列的犹太艺术家，塔杨面临着独特的职业、文化和宗教挑战。
{"title":"Wrestling with the Diaspora’s Angels: A Note on Fra Angelico’s Legacy in Hungarian-Israeli Art","authors":"Mariann Farkas","doi":"10.1163/18718000-12340176","DOIUrl":"https://doi.org/10.1163/18718000-12340176","url":null,"abstract":"While numerous scholars have analyzed the influence of immigration on Jewish visual culture, few have focused on the Hungarian-Israeli scene. This article seeks to resolve some of the lacunae surrounding expressions of Hungarian immigrant experiences in Israeli art by analyzing the Annunciation theme in Hedi Tarjan’s series Homage to Fra Angelico, which was painted in the 1980s and the 2000s. A woman artist with a complex Christian-Jewish identity, Tarjan expressed her cross-cultural and interfaith experiences in her paintings and can be regarded as a “Jewish Diasporist” in the sense elaborated in American artist R. B. Kitaj’s manifestos. The article concludes by arguing that Tarjan, as a Jewish artist who emigrated from Hungary to Israel, faced unique professional, cultural, and religious challenges.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138564157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-06DOI: 10.1163/18718000-12340171
Katrin Kogman-Appel
{"title":"Images and Objects in Medieval Jewish Societies: Multidisciplinary Methods and Approaches","authors":"Katrin Kogman-Appel","doi":"10.1163/18718000-12340171","DOIUrl":"https://doi.org/10.1163/18718000-12340171","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138596225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-31DOI: 10.1163/18718000-12340172
Diane Wolfthal, Elisabeth Hollender
Abstract Books are living forms that must be understood not simply as they were at the moment and place of their creation, but also as they changed through time and space. This article focuses on a little-known medieval mahzor from the Rhineland, currently in Houston, which has been published in only three catalogue entries. It begins by introducing the manuscript and then goes on to focus on what is perhaps its most remarkable aspect: its extensive mutilation. After examining how and why other medieval Jewish manuscripts were intentionally altered, this essay explores the various campaigns that modified the Houston Mahzor and what can be known about the manuscript’s missing texts and images. Reimagining the Mahzor as it once was reveals a richly illuminated manuscript with strikingly unusual images. Studying how it was intentionally altered over time uncovers a range of reactions from its varied audience, Jewish and Christian, German and Italian, medieval and modern.
{"title":"The Intentional Alteration of Jewish Manuscripts and the Houston Mahzor","authors":"Diane Wolfthal, Elisabeth Hollender","doi":"10.1163/18718000-12340172","DOIUrl":"https://doi.org/10.1163/18718000-12340172","url":null,"abstract":"Abstract Books are living forms that must be understood not simply as they were at the moment and place of their creation, but also as they changed through time and space. This article focuses on a little-known medieval mahzor from the Rhineland, currently in Houston, which has been published in only three catalogue entries. It begins by introducing the manuscript and then goes on to focus on what is perhaps its most remarkable aspect: its extensive mutilation. After examining how and why other medieval Jewish manuscripts were intentionally altered, this essay explores the various campaigns that modified the Houston Mahzor and what can be known about the manuscript’s missing texts and images. Reimagining the Mahzor as it once was reveals a richly illuminated manuscript with strikingly unusual images. Studying how it was intentionally altered over time uncovers a range of reactions from its varied audience, Jewish and Christian, German and Italian, medieval and modern.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135929688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-31DOI: 10.1163/18718000-12340174
Chana Shacham-Rosby
Abstract This essay will showcase a process of contextualizing a Jewish ritual object through synthesizing a range of sources. The object at the center of this research is the chair in the context of the circumcision ceremony in medieval Ashkenaz and the early modern Ashkenazi diaspora. The two ceremonial chairs are designated, respectively, for the ba′al brit, who holds the infant, and Elijah the Prophet, whose association with circumcision will be explored. The essay will present the central themes that medieval Ashkenazi Jews wished to highlight during the ceremony and suggest how these themes were reflected and communicated in the affordances of the chair.
{"title":"Ritual Chairs of Circumcision Ceremonies: Reassessing Meaning through Materiality","authors":"Chana Shacham-Rosby","doi":"10.1163/18718000-12340174","DOIUrl":"https://doi.org/10.1163/18718000-12340174","url":null,"abstract":"Abstract This essay will showcase a process of contextualizing a Jewish ritual object through synthesizing a range of sources. The object at the center of this research is the chair in the context of the circumcision ceremony in medieval Ashkenaz and the early modern Ashkenazi diaspora. The two ceremonial chairs are designated, respectively, for the ba′al brit, who holds the infant, and Elijah the Prophet, whose association with circumcision will be explored. The essay will present the central themes that medieval Ashkenazi Jews wished to highlight during the ceremony and suggest how these themes were reflected and communicated in the affordances of the chair.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135929977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-23DOI: 10.1163/18718000-12340169
Eva Frojmovic
Abstract In two liturgical Pentateuchs from Northern Europe from around 1300, images of sirens appear unexpectedly and in ways that vary from common siren iconography. Perhaps these human–animal hybrids, or mixta, in their elusive sexuality and transgressive boundary-crossing articulate Jewish cultural concerns with gender politics. Feminist bestiary studies and feminist studies of vocality (the siren’s song) provide new insights into medieval gender politics and its subversions.
{"title":"The Siren’s Seed","authors":"Eva Frojmovic","doi":"10.1163/18718000-12340169","DOIUrl":"https://doi.org/10.1163/18718000-12340169","url":null,"abstract":"Abstract In two liturgical Pentateuchs from Northern Europe from around 1300, images of sirens appear unexpectedly and in ways that vary from common siren iconography. Perhaps these human–animal hybrids, or mixta, in their elusive sexuality and transgressive boundary-crossing articulate Jewish cultural concerns with gender politics. Feminist bestiary studies and feminist studies of vocality (the siren’s song) provide new insights into medieval gender politics and its subversions.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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