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Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. In this volume, Sarit
Shalev-Eyni considers the Mahzor as a cosmological calendar, while
Katrin Kogman-Appel looks at the work of Elisha ben Abraham, known
as Cresques, in fourtheenth-century Mallorca. Evelyn M. Cohen
discusses a surprising model for Charlotte Rothschild's Haggadah of
1842 and Ronit Sternberg examines sampler embroidery past and
present as an expression of merging Jewish identity. Jechezkiel
David Kirszenbaum's exploration of personal displacementis the
subject of an article by Caroline Goldberg Igra, and the Great
Synagogue on Tlomackie Street in Warsaw one by Eleanora Bergman.
The Special Item by Sergey R. Kravtsov and Vladimir Levin is
devoted to Perek Shirah on a wall of the Great Synagogue in
Radyvyliv. The volume also includes book reviews and an
appreciation of the life of Alfred Moldovan by William L. Gross.
Contributors: Ziva Amishai-Maisels, Professor, History of Art
Department, Hebrew University of Jerusalem, Eleonora Bergman,
Emanuel Ringelbaum Jewish Historical Institute, Warsaw, Evelyn M.
Cohen, Professor, Jewish Theological Seminary (JTS), New York,
Caroline Goldberg Igra, Guest Curator, Beit Hatfusot, Tel Aviv,
William L. Gross, Collector, Tel Aviv, Katrin Kogman-Appel,
Professor, Ben-Gurion University of the Negev, Beersheva, Sergey R.
Kravtsov, Center for Jewish Art, Hebrew University of Jerusalem,
Vladimir Levin, Center for Jewish Art, Hebrew University of
Jerusalem, Sarit Shalev-Eyni, History of Art Department, Hebrew
University of Jerusalem, Larry Silver, History of Art Department,
University of Pennsylvania, Ronit Steinberg, History and Theory
Department, Bezalel Academy of Arts and design, Jerusalem Volumes
of Ars Judaica are distributed by the Littman Library of Jewish
Civilization throughout the world, except Israel. Orders and
enquiries from Israeli customers should be directed to: Ars Judaica
Department of Jewish Art Bar-Ilan University Ramat-Gan 52900
telephone 03 5318413 fax 03 6359241 email [email protected]
Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. In this volume, Avraham Faust
considers a unique phenomenon in the material culture of ancient
Israel during the biblical period: pottery without painted
decoration. Moshe Idel, an expert on Jewish mysticism, sheds new
light on the figure of Helios in the Hammath Tiberias synagogue
mosaic, comparing it to descriptions of angel 'Anafi'el in the
Heikhalot literature and medieval Kabbalistic texts. Rahel Fronda
attributes a group of medieval Ashkenazi Bible manuscripts
containing similar micrographic ornaments to the same scribal
workshop, possibly near Wurzburg. Alexander Mishory reveals a
Scroll of Esther illuminated by one of the first Bezalel artists,
Shmuel Ben-David, and focuses on his use of fowl and fox imagery
deriving from an Arab fable. Artur Tanikowski discusses social
awareness and humanist values in the work of Polish modernists of
Jewish origin. The Special Item by Nurit Sirkis Bank is dedicated
to hasidic wedding rings. A silver ring, square on the outside,
round within, and engraved with the Hebrew letter he is understood
as a symbol of unity and harmony between man and woman, the human
and the Divine, nature and culture, and even good and evil.
Contributor Information: Walter Cahn, Professor, History of Art
Department, Yale University, Avraham Faust, Director, Tel 'Eton
Excavations, Institute of Archaeology, Martin (Szusz) Department of
Land of Israel Studies and Archaeology, Bar-Ilan University, Rahel
Fronda, Hebraica and Judaica Subject Librarian, Bodleian Library,
University of Oxford, Carole Herselle Krinsky, Professor, Art
History Department, New York University, Moshe Idel, Professor,
Department of Jewish Thought, Hebrew University of Jerusalem;
Senior Researcher, Shalom Hartman Institute, David Malkiel,
Professor, Department of Jewish History, Bar-Ilan University, Alec
Mishory, independent scholar, Israel, Ilia Rodov, Lecturer,
Department of Jewish Art, Bar-Ilan University, Nurit Sirkis Bank,
Curator, Wolfson Museum of Jewish Art, Hechal Shlomo; doctoral
candidate, Bar-Ilan University, David Stern, Professor, Jewish
Studies Faculty, University of Pennsylvania, Artur Tanikowski,
Graphic Department, Academy of Fine Arts, Warsaw; Faculty of
Humanities, Fryderyk Chopin Uiversity of Music, Warsaw; Curator,
Museum of the History of Polish Jews, Warsaw Volumes of Ars Judaica
are distributed by the Littman Library of Jewish Civilization
throughout the world, except Israel. Orders and enquiries from
Israeli customers should be directed to: Ars Judaica Department of
Jewish Art Bar-Ilan University Ramat-Gan 52900 Telephone: 03
5318413 Email: [email protected]
Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. The study of Jewish art
frequently raises questions relating to Jewish survival and Jewish
identity. These issues have always been of relevance throughout the
Jewish diaspora, and as is evident from the articles in this volume
they continue to concern Jewish artists to this day. The opening
article, 'Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim' by
Sara Offenberg, deals with the hidden meanings expressed by groups
of animals depicted in two medieval Ashkenazi prayer books for the
Day of Atonement. By using allegorical animals in this way the Jews
of the thirteenth and fourteenth centuries could safely express
their fear of the hostile Christian society in which they lived, as
well as their trust in God and belief in redemption. A surprising
link between the Middle Ages and modern times is made by Rachel
Singer's article, 'Maurice Sendak's Where the Wild Things Are: An
Exploration of the Personal and the Collective'. Published in 1963,
this classic children's book, written and illustrated by the son of
a Jewish immigrant family in Brooklyn, is far removed, both
chronologically and geographically, from the Ashkenazi Middle Ages.
In her study, however, Singer prises out hidden sources of
antisemitic perceptions rooted in medieval Christian Europe. This
leads us to the volume's third article, 'The Return of the
Wandering Jew(s) in Samuel Hirszenberg's Art' by Richard I. Cohen
and Mirjam Rajner. The motif of the wandering Jew, a negative and
frightening figure, is rooted in the late Middle Ages: it made its
first appearance in Christian art, in printed books which
disseminated the Christian legend all over Europe. In the
nineteenth century, Jewish artists engaging with the image of the
wandering Jew endowed it with new interpretations and
presentations. One of these is revealed by the authors as they
focus on the painting The Wandering Jew, created in 1899 by the
Polish Jewish artist Samuel Hirszenberg. As is well known,
emancipation and the Jewish national awakening in late
nineteenth-century Europe were accompanied by diverse artistic
activities. These included the establishment of Jewish societies
promoting Jewish art and artists, exhibitions, documentation, and
research. Among the most impressive efforts were the activities of
Jewish artists in interwar Poland, recorded in contemporary local
newspapers and periodicals. As these were published in Polish and
Yiddish they weren't accessible to the English-speaking reader,
something that is now rectified by Renata Piatkowska in 'A Sense of
Togetherness: The Jewish Society for the Encouragement of the Fine
Arts in Warsaw (1923-1939)'. Based on primary sources, the article
introduces us to the flourishing artistic life which was cruelly
destroyed in the Holocaust. Another result of Jewish national
awakening, in this case in the medium of photography, is presented
in 'Modernity as Anti-Nostalgia: The Photographic Books of Tim
Gidal and Moshe Vorobeichic and the Eastern European Shtetl', by
Rose-Carol Washton Long. This article examines how Zionist ideas
led two assimilated German-trained photographers to develop variant
thematic and stylistic portrayals of eastern European shtetls in
their photobooks, published in 1931 and 1932. Their volumes are
neither romantic nor nostalgic, but instead convey a vibrant vision
of modernity. While the first five articles discuss issues of
identity encountered by Jewish individuals or groups, the next
contribution focuses on a 'Jewish identity' that was imposed by a
colonial administration. Dominique Jarrasse's 'Orientalism,
Colonialism, and Jewish Identity in the Synagogues of North Africa
under French Domination' fills the gaps in our knowledge of
synagogue architecture in Tunisia and Algiers in the modern era in
general, and about colonial Orientalism in particular. Covert
Jewish identity is revealed by Milly Heyd in 'Hans Richter:
Universalism vis-a-vis Particularism'. This is the third part of
her study of the place of the hidden Jew in the Dada avant-garde,
one part of which is published in volume 1 of Ars Judaica. The
focus in the present piece is on Hans Richter's art in the context
of Man Ray, Tristan Tzara, and others who were born to Jewish
families but opted for universalism rather than particularism in
their art. The Special Item in this year's volume is devoted to a
painting by Moritz Oppenheim that was long thought to be lost. 'Of
Provenance and Providence: On the Reappearance of David Playing the
Harp for Saul by Moritz Oppenheim', by Susan Nashman Fraiman,
raises some new and interesting questions about Oppenheim's early
work and patrons. The study of this painting reveals a conscious
effort to incorporate Jewish source material into his work, an
important aspect of his corpus which has previously been neglected.
Volumes of Ars Judaica are distributed by the Littman Library of
Jewish Civilization throughout the world, except Israel. Orders and
enquiries from Israeli customers should be directed to: Ars
Judaica, Department of Jewish Art, Bar-Ilan University, Ramat-Gan
52900, Telephone 03 5318413; Fax 03 6359241; Email
[[email protected]]
Samuel Hirszenberg is an artist who deserves to be more widely
known: his work intertwined modernism and Jewish themes, and he
influenced later artists of Jewish origin. Born into a traditional
Jewish family in Lodz in 1865, Hirszenberg gradually became
attached to Polish culture and language as he pursued his artistic
calling. Like Maurycy Gottlieb before him, he studied at the School
of Art in Krakow, which was then headed by the master of Polish
painting, Jan Matejko. His early interests were to persist with
varying degrees of intensity throughout his life: his Polish
surroundings, traditional east European Jews, historical themes,
the Orient, and the nature of relationships between men and women.
He also had a lifelong commitment to landscape painting and
portraiture. Hirszenberg's personal circumstances, economic
considerations, and historical upheavals took him to different
countries, strongly influencing his artistic output. He moved to
Jerusalem in 1907 and there, as a secular and acculturated Jew who
had adopted the world of humanism and universalism, he strove also
to express more personal aspirations and concerns. This fully
illustrated study presents an intimate and detailed picture of the
artist's development.
Following current developments in contemporary art history,
historians of Jewish art increasingly redefine themselves as
studying Jewish visual culture and also distance themselves from
any single definition of 'Jewish'. Focusing instead on the range
and flexibility of both individual and collective Jewish
self-identification, the trend today is to consider artistic
creativity, messages, and reception in multiple intracultural
settings. Reflecting this trend, the volume presents a round-table
discussion and selected papers from Constructing and Deconstructing
Jewish Art, an international symposium held at Bar-Ilan University
in 2015. Accordingly, Steven Fine questions the role of ideologies
and the limits of semantic analysis in contemporary readings of
ancient Jewish art. Sergey Kravtsov traces the transmission of
legends about the Jewish past through cultures and artistic
practices. Larry Silver proposes that in modern societies, all
artists of Jewish origin are marked by their Jewishness and develop
a minority self-consciousness. Ben Schachter notes how criticism of
religious art has neglected the material and artistic process and
focused only on spirituality and theology. Kathrin Pieren discusses
the role of public displays in negotiating the relationship between
art and identities. The volume also includes two articles on the
effects of displacement on the art of twentieth-century Jewish
artists of Russian origin; description of a forgotten masterpiece
by Hermann Struck; and book reviews. Ars Judaica is an annual
publication of the Department of Jewish Art at Bar-Ilan University.
It showcases the Jewish contribution to the visual arts and
architecture from antiquity to the present from a variety of
perspectives, including history, iconography, semiotics,
psychology, sociology, and folklore. As such it is a valuable
resource for art historians, collectors, curators, and all those
interested in the visual arts. Contributors: Ziva Amishai-Maisels,
Hebrew University of Jerusalem, Maya Balakirsky Katz, Touro
College, New York, Samantha Baskind, Cleveland State University,
Asher Biemann, University of Virginia, Monika Czekanowska-Gutman,
University of Warsaw, Marina Dmitrieva, Leibniz-Institut fur
Geschichte und Kultur des OEstlichen Europa, Leipzig, Steven Fine,
Yeshiva University, New York, Eva Frojmovich, University of Leeds,
Batsheva Goldman-Ida, Tel Aviv Museum of Art, William L. Gross,
collector, Tel Aviv, Felicitas Heiman-Jelinek, independent scholar
and curator, Vienna, Ahuva Klein, independent researcher, Tel Aviv,
Rudolf Klein, Szent Istvan University, Budapest, Lola Kantor
Kazovsky, Hebrew University of Jerusalem, Katrin Kogman-Appel,
Westfalische Wilhelms-Universitat, Munster, Sergey R. Kravtsov,
Hebrew University of Jerusalem, Shulamit Laderman, Schechter
Institute for Jewish Studies, Jerusalem, Irit Miller, University of
Haifa, Kathrin Pieren, University of Southampton, Mirjam Rajner,
Bar-Ilan University, Ramat-Gan, Ilia Rodov, Bar-Ilan University,
Ramat-Gan, Ben Schachter, Saint Vincent College, Pennsylvania,
Larry Silver, University of Pennsylvania, Daniel Sperber, Bar-Ilan
University, Ramat-Gan, Annette Weber, Hochschule fur Judische
Studien, Heidelberg, Gil Weissblei, National Library of Israel,
Jerusalem, Bracha Yaniv, Bar-Ilan University, Ramat-Gan Volumes of
Ars Judaica are distributed by the Littman Library of Jewish
Civilization throughout the world, except Israel. Orders and
enquiries from Israeli customers should be directed to: Ars Judaica
Department of Jewish Art Bar-Ilan University Ramat-Gan 52900
telephone 03 5318413 fax 03 6359241 email [email protected]
This volume focuses on the migration and acculturation of images in
Jewish culture and how that reflects intercultural exchange. Gender
aspects of Jewish art are also highlighted, as is the role of
images in interreligious encounters. Other topics covered include
the history, codicology, and iconography of a Haggadah produced in
the late fifteenth century.
Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. Contributors: Zsofia Buda,
Andreina Contessa, Monika Czekanowska-Gutman, Basema Hamarneh,
Moshe Idel, Sharman Kadish, Reuven Kiperwasser, Rudolf Klein, Susan
Nashman Fraiman, Ido Noy, Larry Silver, Ronit Sorek, Sharon
Weiser-Ferguson Volumes of Ars Judaica are distributed by the
Littman Library of Jewish Civilization throughout the world, except
Israel. Orders and enquiries from Israeli customers should be
directed to: Ars Judaica Department of Jewish Art Bar-Ilan
University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241
email [email protected]
This volume focuses on the migration and acculturation of images in
Jewish culture and how that reflects intercultural exchange. Gender
aspects of Jewish art are also highlighted, as is the role of
images in interreligious encounters. Other topics covered include
the history, codicology, and iconography of a Haggadah produced in
the late fifteenth century.
Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. Contributors: Matthew Baigell,
Rutgers University of New Jersey, Batya Brutin, Beit Berl Academic
College, Zofit, Warren Zev Harvey, Department of Jewish Thought,
Hebrew University of Jerusalem, Moshe Idel, Shalom Hartman
Institute, Jerusalem; Department of Jewish Thought, Hebrew
University of Jerusalem, Sara Offenberg, Department of Jewish Art,
Bar-Ilan University, Nils Roemer, University of Texas at Dallas,
Debra Higgs Strickland, School of Culture and Creative Arts,
University of Glasgow, Annette Weber, Hochschule fur Judische
Studien, Heidelberg Volumes of Ars Judaica are distributed by the
Littman Library of Jewish Civilization throughout the world, except
Israel. Orders and enquiries from Israeli customers should be
directed to: Ars Judaica Department of Jewish Art Bar-Ilan
University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241
email [email protected]
Bringing to light little-known artistic traditions, the latest
volume of Ars Judaica focuses on the local and temporal contexts of
objects and their images and explores collective and personal
memories and identities in art. Rivka Ben-Sasson examines modes of
symbolic perception of nature prevalent in religious thought and
art by analysing images of the lulav and etrog. Iwona Brzewska and
Waldemar Deluga discuss the significance of Hebrew script in
paintings and prints of the fifteenth to seventeenth centuries
originating from the borderland between the Catholic and Christian
Orthodox domains of eastern Europe. Michelle Klein studies the
typological development of the havdalah candle-holder, based on an
analysis of 170 examples. Matthew Baigell suggests that American
Jewish artists are characterized by concern for the betterment of
humankind; his sources include Jewish postcards, photographs, and
caricatures as well as the work of contemporary American Jewish
artists. Astrid Schmetterling discusses how Else Lasker-Schuler's
Orientalism offered a serious aesthetic-political challenge to both
German and Jewish society. Mor Presiado argues that the
contemporary use of sewing and embroidery by contemporary Jewish
women artists to depict women's experience of the Holocaust
initiates a new, feminist response to the Holocaust. The Special
Item in this volume, an article by Shalom Sabar on the earliest
illustrated Esther Scroll by Shalom Italia, is an illuminating
insight into early modern Jewish art in the making. Also included
are exhibition and book reviews. Ars Judaica is an annual
publication of the Department of Jewish Art at Bar-Ilan University.
It showcases the Jewish contribution to the visual arts and
architecture from antiquity to the present from a variety of
perspectives, including history, iconography, semiotics,
psychology, sociology, and folklore. As such it is a valuable
resource for art historians, collectors, curators, and all those
interested in the visual arts. Volumes of Ars Judaica are
distributed by the Littman Library of Jewish Civilization
throughout the world, except Israel. Orders and enquiries from
Israeli customers should be directed to: Ars Judaica, Department of
Jewish Art, Bar-Ilan University, Ramat-Gan 52900, Telephone 03
5318413; Fax 036359241; Email [email protected]
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