1947 Judaica YIDDISH ART BOOK American JEWISH ARTISTS Painters SCULPTORS Graphic

$244.48 $229.81 Buy It Now or Best Offer, $48.90 Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285592621467 1947 Judaica YIDDISH ART BOOK American JEWISH ARTISTS Painters SCULPTORS Graphic. DESCRIPTION : Here for sale is an exquisite Judaica YIDDISH ART BOOK presenting 100 American JEWISH ARTISTS , PAINTERS, SCULPTORS and GRAPHIC ARTISTS and their REPRESENTING PIECES . Most ART PIECES are related to the faith of the JEWISH PEOPLE. Artists like BORIS ARONSON , CHAIM GROSS , BENN , REUBEN RUBIN , AARON GOODELMAN ,  Max Band, George Beline, Theresa Bernstein, Boris Deutch, Maurice Glickman, Lily Harmon, Frank Horowitz, Jack Levine, Saul Raskin, Moses Soyer, Max Weber  and many others biographical notes on 103 artists (not 100 as stated in the title), including exhibitions, awards, collections and commissions; and artists' statements .  A profusion of JEWISH YIDDISH ART. The large book was published by IKUF in NYC USA in 1947  . Written in YIDDISH and ENGLISH.  . NUMEROUS ART PIECES  . The large book SIZE is around 12.5" x  9.5" . 210 + 15 chromo pp. Original cloth HC . Very good condition . Tightly bound.  Clean .  ( Please look at scan for actual AS IS images )  Book will be sent  in a special protective rigid sealed package.   PAYMENTS : Payment method accepted : Paypal & All credit cards  . SHIPPMENT : SHIPP worldwide via registered airmail is $ 29  . Book will be sent inside a protective packaging .  Handling around 5-10 days after payment.  Boris Aronson (October 15, 1898 – November 16, 1980) was an American scenic designer for Broadway and Yiddish theatre. He won the Tony Award for Scenic Design six times in his career. Contents 1 Biography 2 Comments by directors and designers 3 Tony awards 4 Selected Broadway credits 5 References 6 External links Biography[edit] The son of a Rabbi, Aronson was born in Kiev, in the Russian Empire (in present-day Ukraine), and enrolled in art school during his youth. Aronson became an apprentice to the designer Aleksandra Ekster, who introduced him to the directors Vsevolod Meyerhold and Alexander Tairov, who influenced him. These three theatre and art veterans were advocates of the Constructivist school in Russia, as opposed to Stanislavski's form of Realism, and they convinced Aronson to embrace the Constructivist style. Aronson worked for some years in Moscow and Germany. In Berlin he exhibited at the seminal Van Diemen Gallery "First Exhibition of Russian Art", alongside the Constructivists El Lissitzky and Naum Gabo, which introduced Constructivism to the West. He wrote two books in Berlin, on Marc Chagall and Jewish graphic art, before he obtained an Immigrant Visa for America in 1923. He moved to the Lower East Side in New York City and began designing sets and costumes for the more experimental of the city's Yiddish theatres, including the Unser Theater, the Schildkraut Theatre, and most notably Maurice Schwartz's Yiddish Art Theatre. He achieved fame in New York's Jewish community when he designed Schwartz's 1926 revival of Abraham Goldfaden's play The Tenth Commandment. Although he shunned politics, Aronson produced sets for the Communist affiliated ARTEF (Arbeiter Teater Farband, Workers' Theatre Union), such as Lag Boymer and Jim Kooperkop in 1930. However, he soon after left the Yiddish Theatre to prevent his work's "ghettoization", and debuted on Broadway, in 1932, with a revival of Vernon Duke and Yip Harburg's Walk a Little Faster. During the 1930s, he worked on productions by the Group Theatre, including works by Clifford Odets and Irwin Shaw. From 1934 to 1952, Aronson designed scenes, costumes, and lighting for thirty-four plays and three musicals on Broadway (including his design for what is considered to be the first "concept musical", Kurt Weill and Alan Jay Lerner's Love Life), but those successes were overshadowed by his work for the original 1953 production of The Crucible and the 1955 The Diary of Anne Frank (a play by Frances Goodrich and Albert Hackett based on Anne Frank: The Diary of a Young Girl). He continued work on Broadway into the 1960s and 1970s with musicals including Do Re Mi, Fiddler on the Roof (for which Aronson returned to his earlier experience with Jewish theatre), Cabaret, Zorba, Company, Follies, A Little Night Music, and Pacific Overtures. He won the Drama Desk Award for Outstanding Set Design three times. In 1945, he married designer Lisa Jalowetz Aronson (1920–2013), the daughter of music conductor Heinrich Jalowetz.[1][2] She helped Boris with the design of many of his productions.[2] Aronson designed sets for the Metropolitan Opera and ballet companies, including the production of The Nutcracker choreographed by Mikhail Baryshnikov. He was also a non-theatrical artist, working as a painter and sculptor. At the time of his death in 1980, he was a member of New York's theatre and art community and one of its designers. Aronson's wife was Lisa Jalowetz, who worked on many of Aronson's shows as his assistant. In 1979, a year before his death, Aronson was inducted into the American Theater Hall of Fame.[3] Comments by directors and designers[edit] "For Company, Harold Prince and Aronson had discussed at length a Francis Bacon painting * of a figure in motion behind a steel-and-glass coffee table. They decided that it captured the 'frantic, anxious, driven' quality of urban life, and ... Aronson presented Prince with that famous chrome-and-glass backdrop. ... Aronson had made a study of how many buttons he pushed on an average day in New York City ... Prince ... was delighted to find that Aronson had given him two working elevators to play with."[4] "Michael Bennett ... was astonished that Aronson 'didn't do three projects at once', as many designers did, but instead 'watched every line change every night.' The veteran lighting designer Tharon Musser ... felt that she learned more from Aronson than from any other set designer in her long career. 'His design concepts were so strong that if someone went against them, the show would be ruined.'[5] **** Aaron Goodelman (1890 – 1978[1]) was an American sculptor.[2] He graduated from art school in Odessa, but fled Eastern Europe because of antisemitic violence and immigrated to the United States in 1904.[3] He attended a number of important art schools in New York and Paris, and at the outbreak of World War I returned to New York and became a sculptor there. He joined the Communist Party, and took part in an important exhibition denouncing the lynching of African Americans. After World War II he turned to art related to the Holocaust and taught at CUNY. Contents 1 Biography 2 Works 2.1 Necklace 2.2 Other sculptures 2.3 Book and magazine illustrations 3 References 3.1 Notes 3.2 Reference bibliography 4 Further reading 5 External links Biography[edit] Aaron J. Goodelman was born in Ataki, now Otaci, in what was then Bessarabia, now Moldova, and graduated from an art school in Odessa, in the Ukraine. Threatened by pogroms, he immigrated to the US, to New York City. He attended the Cooper Union and then the National Academy of Design, and was in Paris by 1914, studying at the Beaux-Arts de Paris with French sculptor Jean Antoine Injalbert, but when World War I broke out he had to return to the US. To support himself during the 1920s he worked as a machinist, and became a communist (he joined the Communist party, the Yiddish branch), using his art to express his thoughts about the economic and social conditions of the time. By the early 1930s he showed his work at the John Reed Club; he also participated in one of the 1935 New York anti-lynching exhibitions, with a statue that denounced the racism and the violent lynchings of African Americans in the US. For the YKUF, the (Communist) Jewish Culture Association, he was an art editor, and he co-founded the Society of American Sculptors. Besides sculpture in various materials, he did illustrations for children's books. He turned to art inspired by the Holocaust after World War II, and in the 1960s taught at the City University of New York. He died in New York City in 1978.[1] He was interred at New Montefiore Cemetery in West Babylon, New York.[4] Works[edit] Sculptures, in both wood and stone, by Goodelman can be found in the collections of the Jewish Theological Seminary, Hebrew Union College, the Skirball Museum, the Mishkan Museum of Art, the Tel Aviv Museum, and the Habima Theater.[5] The Judah L. Magnes Museum held his only museum retrospective exhibition in 1965.[6] Necklace[edit] His work Necklace, a statuette (23x6x4 inches) created in 1933, was displayed in Struggle for Negro Rights, one of two 1935 New York anti-lynching exhibitions. Art historian Andrew Hemingway had high praise for the work; rather than the stereotypical depiction of a muscular body, Goodelman, influenced perhaps by the work of Amedeo Modigliani, created a slender, elegant figure that "systematically...counter[ed] every offensive stereotype of the black male: excessive sexuality, emotional display, intellectual deficiency", in the words of Hemingway.[7] Goodelman had originally designed a more complex statue, as his drawings indicate, with a noose around the neck and the body attached to "an elliptical wooden shape", but in the end left only the noose. Art historian Milly Heid described the figure as that of a "rather effeminate naked young man, his body intact, his eyes drooping". Goodelman, she says, "plays on the discrepancy between the beauty of the protagonist and his fate and on the painful contradiction between the poetic title Necklace and the strangling noose".[8] The sculpture commemorated the case of the Scottsboro Boys.[3] Goodelman had his first one-man exhibition in 1933, and Necklace was received very well, being singled out and drawing praise from reviewers in the New York City papers and in Art News.[9] Other sculptures[edit] Kultur, in the collection of the Smithsonian American Art Museum, is a wood figure depicting an upright man with his hands chained above high above his head, the figure elongated and stretched to convey the man as fighting against torture or lynching.[10] It represents injustices done by Germany in World War Two.[11] Book and magazine illustrations[edit] Goodelman provided the illustrations for Leon Elbe's book Yingele ringele[3] and the second (1922) cover design for the Workmen's Circle's children's magazine Kinderland.[12] The latter is a girl astride a disproportionately large goat, echoing the girl on a swing that Goodelman had previously used for the first cover of Kinder zhurnal.[13] The goat's hind leg and tail form the letter kuf, the first (Hebrew) letter of the word "Kinderland".[13] Whilst the goat's features are detailed, the girl is shown only in silhouette.[13] He also illustrated Joseph Gaer's 1929 The burning bush.[14] ****Chaim Gross (March 17, 1902 – May 5, 1991) was an American sculptor and educator of Ukrainian Jewish origin. Contents 1 Childhood 2 Emigration from Austria to U.S. 3 Early Career 1921-1933 4 Maturity 1933-1957 5 Later Career 1957-1991 6 Teaching 7 Personal life 8 Gallery 9 Notes 10 See also 11 References 12 External links 12.1 General Childhood[edit] Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mizhhiria, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian SSR in 1939 and became part of newly independent Ukraine in 1991). During World War I, Russian forces invaded Austria-Hungary; amidst the turmoil, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915, refugees of the war. When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklós Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921.[1] Emigration from Austria to U.S.[edit] Gross' brother Naftoli had arrived in New York City in 1914. He sent money to his brothers Chaim and Avrom-Lieb, who traveled from Vienna to Le Havre, France, where they took a boat to New York City in March 1921. Early Career 1921-1933[edit] Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer, Raphael Soyer, Adolph Gottlieb, and Peter Blume. In 1926, Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. Gross began exhibiting sculpture in group shows of students at the Educational Alliance, and then at the Jewish Art Center in the Bronx. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club (the precursor to the Whitney Museum of American Art). In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. In March 1932, Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick.[2] His work was also part of the sculpture event in the art competition at the 1932 Summer Olympics.[3] Maturity 1933-1957[edit] In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1938 filmmaker and historian Lewis Jacobs made a 30-minute feature of Gross carving, called Tree Trunk to Head, showing Gross at work in his East Village studio on a portrait of his wife Renee, who models in the film. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking. Gross began a portrait in clay and then traveled to Israel in the summer of that year hoping to be able to meet Weizmann and have him sit for a portrait. Weizmann was too ill, but Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. Chaim Gross, Sculptor by Josef Vincent Lombardo, the first major book on Gross, came out in 1949. It included a catalogue raisonne of his sculpture. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze, which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. Later Career 1957-1991[edit] Gross in 1983 In 1957, Gross published The Techniques of Wood Sculpture, an influential how-to book with photographs of him at work by famed photographer Eliot Elisofon. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1963, Gross and his family moved from their longtime residence at 30 W. 105th Street to Greenwich Village, following the purchase of a four-story historic townhouse and studio at 526 LaGuardia Place. The townhouse is now the Renee and Chaim Gross Foundation, winner of a 2015 Village Award from the Greenwich Village Society for Historic Preservation, and open to the public. This is the Historic Plaque unveiled on October 6, 2016 by Greenwich Village Society for Historic Preservation at 526 LaGuardia Place. In 1974, the Smithsonian American Art Museum held the exhibition, Chaim Gross: Sculpture and Drawings, organized by Janet A. Flint, Smithsonian Curator of Prints and Drawings. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. In 1977, Gross had three retrospective exhibitions: at the Lowe Art Museum at the University of Miami, followed by the Montclair Art Museum; and the Jewish Museum (Manhattan). The Jewish Museum's exhibition catalog featured an important essay on Gross by art historian and modern American sculpture specialist Roberta K. Tarbell, Professor Emeritus at Rutgers University. Gross received multiple honorary doctorates in the 1970s and 80s: from Franklin and Marshall College (1970); Yeshiva University (1978); Adelphi University (1980); Hebrew Union College (1984); and Brooklyn College (1986). In 1979 Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. Gross died at Beth Israel Hospital in May 1991 and was buried at Mount Lebanon Cemetery in Queens, New York. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Teaching[edit] Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin, Raphael Soyer and Moses Soyer). Gross was a member of the New York Artists Equity Association and the Federation of Modern Painters and Sculptors. He was a founder and served as the first president of the Sculptors Guild. ******.Saul Raskin (Russian: Саул Раскин, Hebrew: שאול רסקין; 1878–1966) was a Russian born American artist, writer, lecturer and teacher best known for his depiction of Jewish subjects. Contents 1 Early life and studies 2 Career 2.1 Yiddish press 2.1.1 Satirical cartoonist 2.1.2 Critic 2.2 Educational and cultural work 2.3 Visual art 2.4 Illustrated books 3 Political and personal views 4 Artists' societies membership 5 Personal life 6 Archives 7 Published works 8 Books illustrated by Raskin 9 References 10 External links Early life and studies[edit] Raskin was born in 1878[1] in Nogaisk in the Russian Empire now known as Prymorsk in Ukraine.[2] He studied lithography in Odessa and then traveled extensively in Germany, France, Italy and Switzerland visiting art schools and working as a lithographer.[2] Raskin immigrated to the United States arriving in New York City in 1904 or 1905.[1][4][5] Career[edit] Yiddish press[edit] As a Russian speaker, Raskin became fluent in Yiddish after having come into contact with the literary community of the Lower East Side neighborhood of New York.[1] Satirical cartoonist[edit] He worked as a cartoonist and caricaturist for a number of New York based Yiddish publications including Kibitzer[1] (Yiddish for a person who offers unsolicited views, advice, or criticism) and particularly Der Groyser Kundes (The Big Stick or The Big Prankster), a New York based satirical weekly.[4] He also regularly contributed cartoons to Yiddish newspapers in Europe.[6] Raskin's cartoons sometimes portrayed the differences between Jewish life in Eastern Europe and in the United States as tales of "metamorphoses".[7] In a cartoon from Der Groyser Kundes in 1909, Raskin employed a cantor, a person ethnomusicologist Mark Slobin, Professor of Music at Wesleyan University regards as serving as "representatives of the group's strivings" for American Jewish audiences in 20th-century America.[7] Raskin's Yiddish caption said "In the Old World, he was a cantor named Zelikovitsh; in America he is an Italian tenor named Signor Zelkonini".[7] Critic[edit] Raskin was a prolific critic of the visual arts, literature and theatre.[8] He wrote articles for various New York based Yiddish language publications including Tsayt-gayst (The Spirit of the Times), the libertarian socialist[9] periodical Freie Arbeiter Stimme (The Free Voice of Labor), the monthly socialist journal Die Zukunft or Di Tsukunft (The Future) for which he wrote forty three articles[8] and Chaim Zhitlowsky's literary and philosophical Dos Naye Lebn (The New Life) published between 1908 and 1914.[2][9] In 1907, he wrote an article for the weekly Zeitgeist published between 1905 and 1908 by The Forward, titled Der proletariat un der kunst (The proletariat and art).[10] Raskin was the art and theater critic for Abraham Reisen's Yiddish language weekly Dos Naye Land (The New Country), an "illustrated weekly of literature, art, criticism and culture", launched in 1911.[11] In the 17 November 1911 edition, Raskin wrote an article titled An Exhibition of Jewish Artists, A Proclamation in which he proposed that Jewish artists exhibitions should be held and suggested practical ways to organize them.[12] The following week, Dos Naye Land published a letter to the editor from a writer opposing Raskin's suggestion on the grounds that "good artists" would refuse to exhibit and suggesting that art appreciation in the Jewish community should be cultivated by first exhibiting reproductions of good art in public places.[12] Raskin wrote about The Future of Jewish Art in another article for Dos Naye Land in 1911 in which he discussed the inability to find a common Jewish characteristic in the works of artists such as Mark Antokolski, Jozef Israëls, Max Liebermann, and Camille Pissarro.[12][13] Raskin suggested that rather than examining the various techniques, forms, and styles used by Jewish artists, "Jewish Art" might emerge by examining the common subject matter and themes in his contemporaries' work, specifically in genre and history paintings.[13] Raskin's articles advocating what he regarded as the humanitarian and demographic value of art rooted in folk themes were amongst the earliest articles on art in Yiddish.[14] Educational and cultural work[edit] Raskin worked to bring Jewish art to the attention of the Jewish public. He believed that art should not be the exclusive preserve of the wealthy and that by collaborating with artists, the public's interest in art could be cultivated.[1] He conducted museum tours and lectured on art for the Arbeter Ring (Workmen’s Circle).[15] In 1910, the Arbeter Ring Education Committee (EC) was formed to oversee its members educational and cultural development.[16] In 1914 the EC organized ten guided tours of New York art museums most of which were conducted by Raskin.[17] The "shpatsirungen" (strolls) as they were called could draw as many as four to five hundred people.[17] The museums participated by remaining open at special times and providing rooms for lectures at no cost.[17] Raskin's guided tours included a short historical overview of the exhibits highlighting the prominent artists and their works.[17] Raskin carried out similar educational work outside of New York.[17] In the 1930s Raskin served as the art director for the 92nd Street Young Men's and Young Women's Hebrew Association (92nd Street Y) in New York.[15] Visual art[edit] Raskin was probably known more as a painter and caricaturist within the American Jewish community than as a critic.[8] He worked in various media and was known for his realist approach and attention to detail.[4] His work focused on scenes of Jewish life and tradition particularly in the Lower East Side of New York.[4] His first exhibition was in 1922.[5] Raskin's paintings, sketches and lithographs portraying Jewish life in the Yishuv in Palestine were well known in the U. S. having appeared in many exhibitions and the press.[18] They were widely praised by art critics.[18] The lobby of a theater at the corner of Second Avenue and Eleventh Street, at the northern end of the "Yiddish Broadway" in the Yiddish Theater District in the Lower East Side was decorated with his paintings of Palestine.[19] He made a number of trips to Palestine, at least four between 1921 and 1937,[1] five by 1947[20] and later to Israel. He stayed at the kibbutz Ramat Yochanan while in the British mandate for Palestine.[21] In 1947 Raskin published Land of Palestine which contained "more than 300 drawings and paintings made during the artist's five visits to Palestine, together with short essays on Palestinian life."[20] He produced poster art to support the Zionist movement. His poster Stand Up and Be Counted from the 1930s shows a central figure of a tall and determined American Jew holding up a Shekel surrounded on one side by images of destruction and on the other by images of a brighter future in a Jewish homeland promised by contributing to the Zionist organization.[22][23][24] Cover of Hebrew Rhapsody (1959) Illustrated books[edit] Raskin provided illustrations for a number of Hebrew texts such as Pirkei Avot: Sayings of the Fathers (1940), the Haggadah for Passover (1941), Tehilim. The Book of Psalms (1942), the Siddur (1945), Five Megiloth: Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther (1949), the Kabbalah in Word and Image (1952), and other books such as Aron Hakodesh: Jewish Life And Lore (1955) and Between God and Man: Hebrew Rhapsody in 100 Drawings (1959). Aron Hakodesh (The Holy Ark) illustrates the life of a boy named Moishele from his Bar Mitzvah to marriage, to teaching his own children and in his old age, his grandchildren reflecting the idea of passing down traditional Jewish wisdom.[25][26] The last pages are about Israel and the Promised Land.[25] The book includes games, jokes, and folklore with about 150 illustrations with Yiddish and English descriptions.[25] Hebrew Rhapsody contained sections on "Moses the prophet supreme", "Samson the tragic hero", "Job the good man", "the Golem", "a wedding in town", "the Hasidim who serve God with joy" together with a set of drawings on the Land of Israel to mark the tenth anniversary of the State of Israel with the final pages describing his experience as an artist. Raskin described the book as a "Rhapsody in the medium of graphic art" and "An ode to my people, my wonderful 'old and young again' people." In 1960 Raskin published the book The New Face of Israel. In 1962, when Raskin was in his eighties, he published Personal surrealism, an illustrated book that included his thoughts on surrealism, dreams and his life in a mixture of Hebrew and English. Political and personal views[edit] Politically, Raskin described himself as initially an "International Marxist", then a "Social Revolutionist", later a "Bundist" and after World War I, a "Jewish Nationalist".[1] Following the Balfour Declaration, Raskin became an ardent Zionist.[22] On Raskin's eightieth birthday he said "I am an artist and I am a Jew, but first and above all, I am a Jewish artist, for Jewishness is the source, the centrality, the essence of my art, as it is the essence of my being."[27] Artists' societies membership[edit] Raskin was a member of the American Watercolor Society, the Society of American Etchers, the Audubon Artists and the New York Watercolor Club.[4] *****Jack Levine (January 3, 1915 – November 8, 2010) was an American Social Realist painter and printmaker best known for his satires on modern life, political corruption, and biblical narratives. Contents 1 Biography 2 Notes 3 References 4 Further reading 5 External links Biography[edit] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Jack Levine" – news · newspapers · books · scholar · JSTOR (May 2022) (Learn how and when to remove this template message) Born to Lithuanian Jewish parents, Levine grew up in the South End of Boston, where he observed a street life composed of European immigrants and a prevalence of poverty and societal ills, subjects which would inform his work. He first studied drawing with Harold K. Zimmerman from 1924 to 1931. At Harvard University from 1929 to 1933, Levine and classmate Hyman Bloom studied with Denman Ross. As an adolescent, Levine was already, by his own account, "a formidable draftsman".[1] In 1932, Ross included Levine's drawings in an exhibition at the Fogg Art Museum at Harvard, and three years later bequeathed twenty drawings by Levine to the museum's collection.[2] Levine's early work was most influenced by Bloom, Chaïm Soutine, Georges Rouault, and Oskar Kokoschka.[3] Along with Bloom and Karl Zerbe, he became associated with the style known as Boston Expressionism.[4] From 1935 to 1940, he was employed by the Works Progress Administration. His first exhibition of paintings in New York City was at the Museum of Modern Art, with the display of Card Game and Brain Trust, the latter drawn from his observation of life in the Boston Common.[3] In 1937, his The Feast of Pure Reason, a satire of Boston political power, was placed on loan to the Museum of Modern Art. In the same year String Quartet was shown at the Whitney Museum of American Art, and purchased in 1942 by the Metropolitan Museum of Art.[2] The death of his father in 1939 prompted a series of paintings of Jewish sages.[5] From 1942-45, Levine served in the Army. Upon his discharge from service he painted Welcome Home, a lampoon of the arrogance of military power; years later the painting would engender political controversy when it was included in a show of art in Moscow, and along with works by other American artists, raised suspicions in the House Un-American Activities Committee of pro-Communist sympathies.[6] In 1946, he married the painter Ruth Gikow and moved to New York City. They had one daughter, Susanna. With a Fulbright grant he traveled to Europe in 1951, and was affected by the work of the Old Masters, particularly the Mannerism of El Greco, which inspired him to distort and exaggerate the forms of his figures for expressive purposes. After returning he continued to paint biblical subjects, and also produced Gangster Funeral, a narrative which Levine referred to as a "comedy".[7] Further commentary on American life was furnished by Election Night (1954), Inauguration (1958), and Thirty- Five Minutes from Times Square (1956). Also in the late 1950s, Levine painted a series of sensitive portraits of his wife and daughter. In the 1960s, he responded not only to political unrest in the United States with works such as Birmingham '63, but to international subjects as well, as in The Spanish Prison (1959–1962), and later still, Panethnikon (1978) and The Arms Brokers (1982–83). Following the death of his wife in the 1980s came an increased interest in Hebraism, and with it a proliferation of paintings with themes from the Old Testament.[8] In 1979 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1982.[citation needed] Levine once said of himself, "I am primarily concerned with the condition of man." Following his own direction, he created a distinct body of socially conscious art that probes the strengths and weaknesses of humanity.[9] Levine's work is featured in many public collections, including the Art Institute of Chicago, the Museum of Modern Art, the Metropolitan Museum of Art, the National Museum of American Art, the Hirshhorn Museum and Sculpture Garden, the Brooklyn Museum, the Phillips Collection, the Whitney Museum of American Art, the Fogg Art Museum, and the National Gallery of Art. In 1973 the Vatican purchased Cain and Abel (1961), to the satisfaction of Pope Paul VI.[10] In 1978, a retrospective of Levine's work was held at the Jewish Museum (New York). He was the subject of a 1989 film documentary entitled Feast of Pure Reason.[11] Levine died at his home in Manhattan, New York on November 8, 2010, at the age of 95.[12] DC Moore Gallery represents the Estate of Jack Levine. The first exhibition of his works at the gallery was in January 2010.[13]    ebay5674/202
  • Condition: Used
  • Condition: Very good condition. Tightly bound. Clean . ( Please look at scan for actual AS IS images )
  • Country/Region of Manufacture: United States
  • Religion: Judaism

PicClick Insights - 1947 Judaica YIDDISH ART BOOK American JEWISH ARTISTS Painters SCULPTORS Graphic PicClick Exclusive

  •  Popularity - 1 watcher, 0.0 new watchers per day, 114 days for sale on eBay. Normal amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 2,805+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive