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  • The Jewish Museum - Collection - Mural Study for Synagogue, 1951
    any of these images you agree to the Jewish Museum s Terms and Conditions Share Share on Facebook Share on Tumblr Share on Twitter Share via Email Print Artist Maker Robert Motherwell American 1915 1991 Mural Study for Synagogue 1951 Medium Graphite and oil on paper Dimensions 11 22 in 27 9 55 9 cm Owner The Jewish Museum New York Acquistion Purchase Philip and Lynn Straus Fund in memory of Joy Ungerleider Mayerson and Dedalus Foundation Gift 1994 685 Copyright Dedalus Foundation Inc Not On View Keywords Abstract Expressionism Religious Symbols Collection Area Works on Paper Submit Picture Request In 1950 architect Percival Goodman asked the painter Robert Motherwell to create a mural for the entry hall of Congregation B nai Israel in Millburn NJ This preparatory study shows abstracted Jewish symbols which Motherwell incorporated into his final design Congregation B nai Israel is representative of the boom in synagogue building that followed the post World War II exodus of American Jews from city to suburb The building remains one of Percival Goodman s best known projects A prolific synagogue architect Goodman championed the modern aesthetic both through his own designs and his commissions from young avant garde artists In addition to Robert Motherwell two other Abstract Expressionists contributed to the Millburn project Herbert Ferber created a monumental relief for the exterior facade and Adolph Gottlieb designed the Torah ark curtain now in the collection of The Jewish Museum Goodman s architecture and the works he commissioned reflect the updated sensibilities of the newly established suburban community Bibliography Tuchman Phyllis ROBERT MOTHERWELL THE EAST HAMPTON YEARS 1944 1952 New York Officina Libraria 2014 p 73 This information may change as the result of ongoing research Other Works in Highlights article data cycle auto height calc data cycle timeout 0 data cycle easing linear data cycle speed 1000 data cycle carousel offset 120 data cycle throttle speed true data cycle manual trump false data cycle swipe true data cycle prev cycle prev data cycle next cycle next Edouard Vuillard French 1868 1940 Lucy Hessel Reading Lucy Hessel lisant Learn More James Casebere American b 1953 Venice Ghetto Learn More Solomon Alexander Hart British 1806 1881 The Feast of the Rejoicing of the Law at the Synagogue in Leghorn Italy Learn More James Jacques Joseph Tissot French 1836 1902 Joseph Dwelleth in Egypt Learn More Reuven Rubin Israeli b Romania 1893 1974 Goldfish Vendor Learn More Pastorino di Giovan Michele de Pastorini c 1508 1592 Medal of Gracia Nasi the Younger Learn More John Ruslen active 1656 c 1715 Presentation Tray Lord Mayor s Tray Learn More Jacques Lipchitz American and French b Lithuania 1891 1973 The Sacrifice Learn More George Segal American 1924 2000 The Holocaust Learn More Adolph Gottlieb American 1903 1974 Return of the Mariner Learn More Edouard Vuillard French 1868 1940 Lucy Hessel Reading Lucy Hessel lisant Learn More James Casebere American b 1953 Venice Ghetto Learn More Solomon Alexander Hart British 1806 1881 The Feast of

    Original URL path: http://thejewishmuseum.org/collection/4723-mural-study-for-synagogue (2016-02-14)
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  • The Jewish Museum - Collection - Untitled (Candelabra), 1951
    intellectual property rights By using any of these images you agree to the Jewish Museum s Terms and Conditions Share Share on Facebook Share on Tumblr Share on Twitter Share via Email Print Artist Maker Robert Motherwell American 1915 1991 Untitled Candelabra 1951 Medium Ink on paper Dimensions 14 1 4 25 1 2 in 36 2 64 8 cm Owner The Jewish Museum New York Acquistion Purchase Philip and Lynn Straus Fund in memory of Joy Ungerleider Mayerson and Dedalus Foundation Gift 1994 688 Copyright Dedalus Foundation Inc Not On View Keywords Abstract Expressionism Religious Symbols Collection Area Works on Paper Submit Picture Request In 1950 architect Percival Goodman asked the painter Robert Motherwell to create a mural for the entry hall of Congregation B nai Israel in Millburn NJ This preparatory study shows abstracted Jewish symbols which Motherwell incorporated into his final design Congregation B nai Israel is representative of the boom in synagogue building that followed the post World War II exodus of American Jews from city to suburb The building remains one of Percival Goodman s best known projects A prolific synagogue architect Goodman championed the modern aesthetic both through his own designs and his commissions from young avant garde artists In addition to Robert Motherwell two other Abstract Expressionists contributed to the Millburn project Herbert Ferber created a monumental relief for the exterior facade and Adolph Gottlieb designed the Torah ark curtain now in the collection of The Jewish Museum Goodman s architecture and the works he commissioned reflect the updated sensibilities of the newly established suburban community Bibliography Tuchman Phyllis ROBERT MOTHERWELL THE EAST HAMPTON YEARS 1944 1952 New York Officina Libraria 2014 p 75 This information may change as the result of ongoing research Other Works in Highlights article data cycle auto height calc data cycle timeout 0 data cycle easing linear data cycle speed 1000 data cycle carousel offset 120 data cycle throttle speed true data cycle manual trump false data cycle swipe true data cycle prev cycle prev data cycle next cycle next Wallace Berman American 1926 1976 Untitled Learn More Nancy Spero American 1926 2009 Masha Bruskina Learn More Isidor Kaufmann Austrian b Hungary 1853 1921 Friday Evening Learn More Sabbath Festival Lamp Learn More Fabio Mauri Italian 1926 2009 Small Closet with Shirt Learn More Weegee born Arthur Fellig American b Poland 1899 1968 Max Is Rushing in the Bagels to a Restaurant on Second Avenue for the Morning Trade Learn More Moritz Daniel Oppenheim German 1800 1882 The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance wit Learn More Mezuzah Cover Mezuzah Cover of Mas uda Lakhriyef Learn More Heinrich Wilhelm Kompff active 1783 1825 Torah Finials Learn More Elie Nadelman American b Poland 1882 1946 Dancer Learn More Wallace Berman American 1926 1976 Untitled Learn More Nancy Spero American 1926 2009 Masha Bruskina Learn More Isidor Kaufmann Austrian b Hungary 1853 1921 Friday Evening Learn More Sabbath Festival Lamp

    Original URL path: http://thejewishmuseum.org/collection/4726-untitled-candelabra (2016-02-14)
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  • The Jewish Museum - Collection - Tablets of Moses, Jacob’s Ladder and Menorah, 1951
    to the Jewish Museum s Terms and Conditions Share Share on Facebook Share on Tumblr Share on Twitter Share via Email Print Artist Maker Robert Motherwell American 1915 1991 Tablets of Moses Jacob s Ladder and Menorah 1951 Medium Oil on composition board mounted on aluminum Dimensions 48 60 in 121 9 152 4 cm Owner The Jewish Museum New York Acquistion Purchase Philip and Lynn Straus Fund in memory of Joy Ungerleider Mayerson and Dedalus Foundation Gift 1994 680 Copyright Dedalus Foundation Inc Not On View Keywords Abstract Expressionism Religious Symbols Collection Area Paintings Submit Picture Request In 1950 architect Percival Goodman asked the painter Robert Motherwell to create a mural for the entry hall of Congregation B nai Israel in Millburn NJ This preparatory study shows abstracted Jewish symbols which Motherwell incorporated into his final design Congregation B nai Israel is representative of the boom in synagogue building that followed the post World War II exodus of American Jews from city to suburb The building remains one of Percival Goodman s best known projects A prolific synagogue architect Goodman championed the modern aesthetic both through his own designs and his commissions from young avant garde artists In addition to Robert Motherwell two other Abstract Expressionists contributed to the Millburn project Herbert Ferber created a monumental relief for the exterior facade and Adolph Gottlieb designed the Torah ark curtain now in the collection of The Jewish Museum Goodman s architecture and the works he commissioned reflect the updated sensibilities of the newly established suburban community Source The Jewish Museum New York New York CULTURE AND CONTINUITY THE JEWISH JOURNEY June 18 September 1999 Bibliography Tuchman Phyllis ROBERT MOTHERWELL THE EAST HAMPTON YEARS 1944 1952 New York Officina Libraria 2014 p 77 Provenance the artist until d 1991 The Dedalus Foundation New York 1991 94 sold to TJM This information may change as the result of ongoing research Other Works in Highlights article data cycle auto height calc data cycle timeout 0 data cycle easing linear data cycle speed 1000 data cycle carousel offset 120 data cycle throttle speed true data cycle manual trump false data cycle swipe true data cycle prev cycle prev data cycle next cycle next Solomon Alexander Hart British 1806 1881 The Feast of the Rejoicing of the Law at the Synagogue in Leghorn Italy Learn More Joel Otterson American b 1959 Hanukkah Lamp Unorthodox Menorah II Learn More Shimon Attie American b 1957 Joachim Ecke Auguststrasse Slide projection of former Jewish resident 1931 Berlin Learn More Kay Sekimachi American b 1926 Alms Container Tzedakabako Learn More Pastorino di Giovan Michele de Pastorini c 1508 1592 Medal of Gracia Nasi the Younger Learn More Spice Container Learn More Gyula Pap Hungarian 1889 1983 Seven branch Candelabrum Learn More Torah Ark Learn More El Lissitzky Russian 1890 1941 Cover Learn More Chana Orloff French b Ukraine 1888 1968 Portrait of Madame Peretz Hirshbein Learn More Solomon Alexander Hart British 1806 1881 The Feast of the Rejoicing of

    Original URL path: http://thejewishmuseum.org/collection/4718-tablets-of-moses-jacob-s-ladder-and-menorah (2016-02-14)
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  • The Jewish Museum - Collection - Tablets of Moses, Jacob’s Ladder and Burning Bush, 1951
    to download on this site Other images may be protected by copyright and other intellectual property rights By using any of these images you agree to the Jewish Museum s Terms and Conditions Share Share on Facebook Share on Tumblr Share on Twitter Share via Email Print Artist Maker Robert Motherwell American 1915 1991 Tablets of Moses Jacob s Ladder and Burning Bush 1951 Medium Ink on paper Dimensions 14 9 16 17 in 37 43 2 cm Owner The Jewish Museum New York Acquistion Purchase Philip and Lynn Straus Fund in memory of Joy Ungerleider Mayerson and Dedalus Foundation Gift 1994 687 Copyright Dedalus Foundation Inc Not On View Keywords Abstract Expressionism Religious Symbols Collection Area Works on Paper Submit Picture Request In 1950 architect Percival Goodman asked the painter Robert Motherwell to create a mural for the entry hall of Congregation B nai Israel in Millburn NJ This preparatory study shows abstracted Jewish symbols which Motherwell incorporated into his final design Congregation B nai Israel is representative of the boom in synagogue building that followed the post World War II exodus of American Jews from city to suburb The building remains one of Percival Goodman s best known projects A prolific synagogue architect Goodman championed the modern aesthetic both through his own designs and his commissions from young avant garde artists In addition to Robert Motherwell two other Abstract Expressionists contributed to the Millburn project Herbert Ferber created a monumental relief for the exterior facade and Adolph Gottlieb designed the Torah ark curtain now in the collection of The Jewish Museum Goodman s architecture and the works he commissioned reflect the updated sensibilities of the newly established suburban community Bibliography Tuchman Phyllis ROBERT MOTHERWELL THE EAST HAMPTON YEARS 1944 1952 New York Officina Libraria 2014 p 79 This information may change as the result of ongoing research Other Works in Highlights article data cycle auto height calc data cycle timeout 0 data cycle easing linear data cycle speed 1000 data cycle carousel offset 120 data cycle throttle speed true data cycle manual trump false data cycle swipe true data cycle prev cycle prev data cycle next cycle next Peter Blume American b Russia 1906 1992 Pig s Feet and Vinegar Learn More John Wesley Jarvis American b England 1780 1840 Portrait of Solomon Isaacs Learn More John Ruslen active 1656 c 1715 Presentation Tray Lord Mayor s Tray Learn More S I C Torah Finials Learn More Andy Warhol American 1928 1987 The Marx Brothers Learn More Eleanor Antin American b 1935 Vilna Nights Learn More Hannah Wilke American 1940 1993 Venus Pareve Learn More James Casebere American b 1953 Venice Ghetto Learn More Johann Valentin Schüler 1650 1720 master 1680 Sabbath Festival Lamp Learn More James Jacques Joseph Tissot French 1836 1902 Joseph Dwelleth in Egypt Learn More Peter Blume American b Russia 1906 1992 Pig s Feet and Vinegar Learn More John Wesley Jarvis American b England 1780 1840 Portrait of Solomon Isaacs Learn More John

    Original URL path: http://thejewishmuseum.org/collection/4725-tablets-of-moses-jacob-s-ladder-and-burning-bush (2016-02-14)
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  • The Jewish Museum - Collection - Wall Drawing #927 Loopy (green and blue), 1999
    forms creates finite series the number of permutations predetermined by a preset number By declaring the rules by which an image is created LeWitt makes the image itself somewhat redundant or even negligible To LeWitt who seldom veers from these self imposed rules the most important principle is that the idea is central and the execution is secondary While the idea itself simple and logical often ends up being perceptually illogical perception is subjective and the artist is unable to perceive the work until it is complete To eliminate what LeWitt calls caprice taste and other whimsies the idea must be predetermined Having worked for I M Pei LeWitt takes inspiration from the architectural process Drawn first by him on paper wall drawings are later executed by a team of studio assistants As in architecture the artist is separated from the actual construction of the art Breaking with the tradition of putting paint to canvas and canvas to wall wall drawings more than nine hundred of which exist today are considered LeWitt s most innovative artistic achievement His early wall drawings first done in 1968 were simply transferred from drawings on paper having no relationship to their environment A major turning point occurred in 1970 when LeWitt created his first site specific wall drawing In the 1990s LeWitt began using acrylics a traditional painting medium that radically changed the aesthetic of the wall drawings His exuberant designs of the 1990s feature intense hues geometric arcs and waves that push the boundaries of their architectural confines The vibrancy of these works allows the wall drawings to stand up to their architectural surroundings while LeWitt s most recent wall drawings engage their surroundings using architectural elements as foils or as integral components Throughout their development LeWitt s wall drawings have retained their internal logic and serial sensibility while increasingly playing with geometry sensuality and color In 1999 LeWitt designed these two wall drawings for two bays of the west wall of The Jewish Museum s second floor galleries a space that still retains architectural details of the French Gothic style Warburg mansion which houses the museum One wall drawing has a yellow background with purple arabesques The other exhibits a complementary color scheme of a green background with blue LeWitt chose the site for this wall drawing decision befitting his recent interest in installing his abstract decidedly modernist designs in space with historical references a radical departure from his earlier gridlike works that were meant to be installed in the white cube spaces of galleries and museums The idea remained central to LeWitt s late work as did strategies that refute the primacy of the artist and the notion of permanence in art Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 80 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 80 This information may change as the result of ongoing research Other Works in

    Original URL path: http://thejewishmuseum.org/collection/27529-wall-drawing-927-loopy-green-and-blue (2016-02-14)
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  • The Jewish Museum - Collection - Hear O’Israel, 1955
    our God the Lord is One which devout Jews recite twice a day Hear O Israel is an outstanding example of Bomberg s late expressionist style and is regarded as one of the most important religious paintings in twentieth century British art It depicts a shrouded man probably the artist himself passionately clasping the Torah Painted with thick strokes and intense color the semi abstract figure is submerged in personal pain and despair reflecting the artist s own disillusionment caused by the long period of neglect suffered in the latter part of his life During his early years Jewish life in the East End of London was a powerful source of inspiration for Bomberg s work The son of Polish immigrants Bomberg was fortunate to receive a scholarship to the Slade School of Art in London Although the Cubist and Futurist movements were seriously considered by Slade students Bomberg always resisted being labeled and had no desire to associate formally with any artistic group Initially he developed a style characterized by the use of angular abstract forms to give expressive force to his representational subjects Using actual East End sites and events he developed a flat geometrical style However he never eliminated the human form or physical description World War I brought military service and personal losses for Bomberg and during this period he shifted from pure skeletal forms to the rich flow of paint and color to create forms of a deeply expressive nature In 1923 the artist received funds from a Zionist organization to record the pioneering work in Palestine where he remained until 1927 producing remarkable studies of Petra and Palestine From that time until the end of his life his style changed and he began to employ an expressionist manner and heavily impastoed paint to give greater force to his forms The scant recognition and long period of neglect suffered by Bomberg during the last thirty years of his life along with his unwillingness to accept compromises in his career contributed to his final bitter years and may be attributed to the highly individual and disturbing nature of his work This was to be rectified by critics such as Richard Cork who thirty years after Bomberg s death said Bomberg can now be seen as one of the most rewarding and prescient painters Britain has produced in the modern era Subsequent memorial exhibitions and written evaluations have secured this reputation and evaluation Successive public exhibitions and critical acclaim have redressed the common attitude of great appreciation for his earlier constructivist period over the later series of family portraits landscapes and final tragic autobiographical statements Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 222 223 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 222 223 Cork Richard DAVID BOMBERG Exh cat London The Tate Gallery 1988 no 191 pp 139 133 167 Israel Museum DAVID BOMBERG IN PALESTINE 1923

    Original URL path: http://thejewishmuseum.org/collection/4862-hear-o-israel (2016-02-14)
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  • The Jewish Museum - Collection - The Talmudists, 1934
    was one of these few artists to include religious subjects in his work and he was considered the first American exponent of Jewish imagery Weber s early work shows the Fauve influence of his teacher Henri Matisse and the Cubist influence of Braque and Picasso But there is little evidence of his later inclination toward Jewish subject matter until 1918 As a response to the death of his father in that year and to moral disillusionment with American art and world values during the war Weber s art turned inward He pursued the spiritual over the material values he had previously espoused and concentrated on human activity over formal experimentation Weber painted a series of heads of rabbis and scenes of Jewish ritual such as his 1919 Sabbath as the coalescence of his religious background with his artistic goals The thirties are considered by Milton Brown to be the first period in which Weber s art represents a mature integration of personal expression and style The Talmudists rendered in the dark earth tone palette of Weber s Depression period works has a nervous line and Mannerist composition that betrays Weber s admiration of El Greco Weber was capable here of making a lyrical transformation of Christian aesthetics into Jewish spirituality He appropriated the gestures of El Greco s ecstatic Christian figures and saints for the excited gesticulation of the mystical Hasidic sect His portrayal of the scholars interacting with their sacred texts and with each other demonstrates Weber s passionate interest in the meaning of spirituality communication and gesture Source Kleeblatt Norman L Dr Vivian B Mann TREASURES OF THE JEWISH MUSEUM New York The Jewish Museum 1986 pp 184 185 Bibliography Baigell Matthew AMERICAN ARTISTS JEWISH IMAGES JUDAIC TRADITIONS IN LITERATURE MUSIC AND ART Syracuse University Press 2006 Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 21 Kampf Avram JEWISH EXPERIENCE IN THE ART OF THE TWENTIETH CENTURY Massachusetts 1984 p 180 Kleeblatt Norman L and Susan Chevlowe eds PAINTING A PLACE IN AMERICA JEWISH ARTISTS IN NEW YORK 1900 1945 New York The Jewish Museum 1991 pp 78 156 199 201 Kleeblatt Norman L and Vivian B Mann TREASURES OF THE JEWISH MUSEUM New York The Jewish Museum 1986 pp 184 185 Mann Kenny THE ANCIENT HEBREWS New York Benchmark Books 1999 Mann Vivian B and Emily D Bilski THE JEWISH MUSEUM NEW YORK London Scala Books 1993 p 108 Medding Peter Y ed STUDIES IN CONTEMPORARY JEWRY Oxford University Press 2003 National Geographic Society THE NATIONAL GEOGRAPHIC TRAVELER NEW YORK National Geographic 2004 North Percy MAX WEBER AMERICAN MODERN Exh cat New York The Jewish Museum 1982 pp 8 78 Rosand David THE INVENTION OF PAINTING IN AMERICA Columbia University Press 2004 Strosberg Eliane THE HUMAN FIGURE AND JEWISH CULTURE Abbeville Press 2010 The Jewish Museum MAX WEBER CELEBRATING THE ARTIST S 75TH BIRTHDAY Exh cat New York The Jewish Museum 1956 pp 2 19 The Jewish Museum THE

    Original URL path: http://thejewishmuseum.org/collection/19202-the-talmudists (2016-02-14)
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  • The Jewish Museum - Collection - Untitled, 1974
    invented an abstract visual language of great subtlety The color of Untitled as in many other of his paintings relies upon a palette of purple for which he is celebrated green and gray in addition to black and white In this work the purple suggests a deep mauve to an earthy gray and the limited number of colors heightens the abstraction of the image Within a gridlike structure there is a mechanical reiteration of parallel and intersecting lines in the painting His expressive gestural lines enhance or negate one another through what the artist terms activities Each activity is a response and each response results in another thus the work is constructed tier by tier These spiritual landscapes are created through the addition and removal of layers and lines of paint and the interaction between the revealed overt and the concealed The result is a superstructure of painterly activities that the artist has hidden The final image in Untitled appears to fall between a work of severe Minimalism and one of a more aggressive Expressionism Kupferman s hidden past figures strongly in his work although the artist declined to discuss the connection between his European childhood and adolescence and his later life as a kibbutz member in Israel Born in eastern Poland Kupferman was raised in a traditional Jewish family With the outbreak of World War II his childhood and formal schooling ended abruptly Escaping the Nazis his family fled east to the Soviet Union where they were interned in work camps in Siberia and central Asia The only surviving member of his family Kupferman immigrated to Israel in 1949 A year later he joined other refugees in the western Galilee founding a kibbutz Lohamei Ha Gettaot where he lived and worked for over forty years It has been suggested that the lines in his paintings are a metaphor for the kibbutz fields or perhaps the scaffolding of those houses in whose construction he took part Others suggest that his grid is an image that recalls the barbed wire fences that surrounded concentration camps Attempts to interpret Kupferman s painting are based on the assumption that the reality is one of personal and historical memory and based on associations both hidden and overt Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 68 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 68 This information may change as the result of ongoing research Other Works in Highlights article data cycle auto height calc data cycle timeout 0 data cycle easing linear data cycle speed 1000 data cycle carousel offset 120 data cycle throttle speed true data cycle manual trump false data cycle swipe true data cycle prev cycle prev data cycle next cycle next Israel Dov Rosenbaum Mizrah Learn More Ludwig Yehuda Wolpert American b Germany 1900 1981 Fabric Designed for Synagogue Curtains Learn More George Segal American 1924 2000 The Holocaust Learn More

    Original URL path: http://thejewishmuseum.org/collection/1528-untitled (2016-02-14)
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