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1

UN’ARTE PER GLI EBREI, UN’ARTE PER IL MONDO. LE STRADE DI EL LISSITZKY E MOYSHE BRODERZON

100%

QUERCIOLI MINCER L.

pl.it / rassegna italiana di argomenti polacchi

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2022

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vol. 13

65-81

EN

For a short but fertile period, the paths of the two extraordinary artists El Lissitzky (1890-1941) and Moyshe Broderzon (1890-1956) intersected and gave rise to important artistic projects. Both authors shared the ideal projects of the Bund, and in particular the affirmation of the cultural autonomy of Jews in their countries of residence. Their choices then diverged: Lissitzky became one of the most distinguished coryphaei of Suprematism and Soviet art; Broderzon, on the other hand, remained faithful to the project of creating a new Jewish art directed towards a Jewish audience. Their story is told against the backdrop of Jewish participation in the Central-Eastern European avant-garde.

2

NIEZWYKŁE ZNAKI: TEFILIN I MEZUZA – WYRAZEM PIĘKNA I BOGACTWA SZTUKI ŻYDOWSKIEJ

100%

Kozielec T.

Ochrona Zabytków

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2007

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issue 1

53-66

EN

Apart from being Jewish sacred objects, the 'tefillin' and 'mezuzot' are outstanding examples of the crafts. They are made of fine material, and each stage of the production takes a long time and requires special attention. Every part is symbolic and has a special meaning. 'Tefillin' and 'mezuzot' demand special care and environmental conditions. Their main enemies are water, dampness, sunlight, heat, microbes and insects, as well as mechanical factors causing damage during use. Since they are often and easily damaged, they are subjected to restoration. Conservation and restoration should be consulted with rabbis owing to the fact that only material from 'clean' animals can be used; each element should be preserved without any change to its original symbolic and significant form.

3

Theodor Herzl: From Ahasverus to Baal Teshuva

63%

Kamczycki A.

Studia Europaea Gnesnensia

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2012

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issue 6

61-81

EN

Theodor Zeev Benjamin Herzl (1860-1904) was the creator of Zionist ideology, which, for the purposes of preparing the Jewish nation to mass emigration to the Promised Land and establishing a state there, made full use of available imagery and visual culture. Zionist iconosphere was therefore created, where Herzl’s iconography occupies a key position. The figure became the foremost Zionist icon, while his codified depiction was to be an embodiment of Zionist and express its ideas. One of such embodiments was Herzl’s portrait by Leopold Pilichowski, made in 1908 on commission from the delegates of the seventh congress. The composition evokes a range of pictorial guidelines, while juxtaposition of the portrait with other works (by A. Nossig, S. Hirszenberg, G. Dore and B. Schatz) enables one to discern an iconographic sequence which draws on the idea of Ahasverus (the Wandering Jew). For Zionism, Ahasverus is an archetype of the so-called negative image of ghetto Jews (ghetto types), which from then on constituted a hindrance on the way to national mobilisation and thus a target of Zionist criticism. He was an element embodying exile, wandering, discrimination, persecution, internal degeneration, social pathology and mental deviation, existential inertia and physiognomic grotesque. In contrast, Herzl’s portrait was to be a manifesto repudiation of these negative encumbrances (visual ones included) and a guideline for new Zionist ideals, which responded with Baal Teshuva – the Jew returning to the Promised Land.

Refine search results

1 Ochrona Zabytków

1 Studia Europaea Gnesnensia

1 pl.it / rassegna italiana di argomenti polacchi

1 Kamczycki A.

1 Kozielec T.

1 QUERCIOLI MINCER L.

1 2022

1 2012

1 2007

UN’ARTE PER GLI EBREI, UN’ARTE PER IL MONDO. LE STRADE DI EL LISSITZKY E MOYSHE BRODERZON

NIEZWYKŁE ZNAKI: TEFILIN I MEZUZA – WYRAZEM PIĘKNA I BOGACTWA SZTUKI ŻYDOWSKIEJ

Theodor Herzl: From Ahasverus to Baal Teshuva