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On the Ideological and Practical Significance of Siddur Inner Cover Illustrations in Modern Eretz Israel 论现代以色列犹太教经书封面插图的意识形态和现实意义

IF 0.4

Images Pub Date : 2024-07-25 DOI: 10.1163/18718000-12340182

Reuven Gafni

引用次数: 0

What Matisse and Picasso Owed to Jewish Collectors and Dealers 马蒂斯和毕加索归功于犹太收藏家和经销商

IF 0.4

Images Pub Date : 2024-04-12 DOI: 10.1163/18718000-12340178

Larry Silver

{"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":"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.","PeriodicalId":41613,"journal":{"name":"Images","volume":"120 1","pages":""},"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}

引用次数: 0

Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art” 不只靠文字：作为 "小艺术 "的早期大屠杀图画叙事

IF 0.4

Images Pub Date : 2023-12-09 DOI: 10.1163/18718000-12340175

Rachel E. Perry

{"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 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.","PeriodicalId":41613,"journal":{"name":"Images","volume":"1 1","pages":""},"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}

引用次数: 0

Wrestling with the Diaspora’s Angels: A Note on Fra Angelico’s Legacy in Hungarian-Israeli Art 与散居地的天使搏斗：关于 Fra Angelico 在匈牙利-以色列艺术中的遗产的说明

IF 0.4

Images Pub Date : 2023-12-09 DOI: 10.1163/18718000-12340176

Mariann Farkas

引用次数: 0

Images and Objects in Medieval Jewish Societies: Multidisciplinary Methods and Approaches 中世纪犹太人社会中的图像和物品：多学科方法与途径

IF 0.4

Images Pub Date : 2023-12-06 DOI: 10.1163/18718000-12340171

Katrin Kogman-Appel

引用次数: 0

The Intentional Alteration of Jewish Manuscripts and the Houston Mahzor 犹太手稿的故意篡改与休斯顿马祖尔