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  • The Jewish Museum - Search
    1949 My Third Jewish Abstract God s Back R B Kitaj American 1932 2007 Hard Sweetness Joan Snyder American b 1940 The Hebrew Melody Louis Lozowick American b Ukraine 1892 1973 Torah Mantle Dawidgródek III Frank Stella American b 1936 Hanukkah Lamp Miguel Oks Argentinian b 1957 Untitled Portrait of Edith Sachar Mark Rothko American b Russia 1903 1970 Seder Plate Amy Klein Reichert American b 1959 Untitled Cityscape Sidney Gross American 1921 1969 Sabbath Festival Table Cover Star of David Orange Dana Frankfort American b 1971 Dictators Hananiah Harari American 1912 2000 Self Portrait Lee Krasner American 1908 1984 The Burrow Franz Kafka Alice Attie American b 1950 Surrational Zeus II Herbert Ferber American 1906 1991 Golem Louise Fishman American b 1939 Return of the Mariner Adolph Gottlieb American 1903 1974 End of Day XXXV Louise Nevelson American b Ukraine 1899 1988 The Tragedian Kurt Seligmann American b Switzerland 1900 1962 Study for Mural Robert Motherwell American 1915 1991 Study for Mural Robert Motherwell American 1915 1991 Mural Study for Synagogue Robert Motherwell American 1915 1991 Untitled Candelabra Robert Motherwell American 1915 1991 Untitled Tablets of Moses Robert Motherwell American 1915 1991 Tablets of Moses Jacob s Ladder and Menorah Robert Motherwell American 1915 1991 Tablets of Moses Jacob s Ladder and Burning Bush Robert Motherwell American 1915 1991 Double Portrait Gay Flag Ross Bleckner American b 1949 Hanukkah Lamp David Heinz Gumbel Israeli b Germany 1896 1992 Wall Drawing 927 Loopy green and blue Sol LeWitt American 1928 2007 Wall Drawing 926 Loopy yellow and purple Sol LeWitt American 1928 2007 Six Prayers Anni Albers American b Germany 1899 1994 Hear O Israel David Bomberg British 1890 1957 The Talmudists Max Weber American b Russia 1881 1961 Untitled Moshe Kupferman Israeli b Poland 1926 2003 The Sacrifice Jacques

    Original URL path: http://thejewishmuseum.org/search/collection?keywords=Abstract (2016-02-14)
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  • The Jewish Museum - Search
    the JM Contact Connect FAQs Rentals Located on New York City s Museum Mile the Jewish Museum is a distinctive hub for art and Jewish culture for people of all backgrounds From our unique collection to our distinctive exhibitions and dynamic education programs there is always something to see and do learn more Support Membership Individual Giving Corporate Support Planned Giving Travel Program Special Events Become a member today Individual Corporate and Foundation support are crucial to furthering the Jewish Museum s mission to collect preserve exhibit and interpret art and Jewish culture View All Memberships Shop Open today from 11 am 5 45 pm See what s on today Search 9 search results Collection 9 results Image Not Available À Propos Réflecteur de Réflecteur 58 Joseph Kosuth American b 1945 Image Not Available Untitled Star of David The Peppers Ludmila Skripkina b Russia 1965 Oleg Petrenko b Russia 1964 Boy at a Desk from The Dead Class Tadeusz Kantor Polish 1915 1990 Crushed History Zermahlene geschichte Horst Hoheisel German b Poland 1944 Untitled Jew William Anastasi American b 1933 Return of the Mariner Adolph Gottlieb American 1903 1974 Wall Drawing 927 Loopy green and blue Sol LeWitt American 1928 2007 Wall Drawing 926 Loopy yellow and purple Sol LeWitt American 1928 2007 Joachim Ecke Auguststrasse Slide projection of former Jewish resident 1931 Berlin Shimon Attie American b 1957 Contact Us 1109 5th Ave at 92nd St New York NY 10128 Directions 212 423 3200 info thejm org Connect With Us Facebook Twitter Instagram YouTube Tumblr Pinterest Join Us Members enjoy valuable benefits including free admission discounts and previews of new exhibitions while helping the Museum to celebrate and share the rich artistic and cultural heritage of the Jewish people Become a member Terms Conditions Privacy Policy Press Accessibility About

    Original URL path: http://thejewishmuseum.org/search/collection?keywords=Conceptual (2016-02-14)
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  • The Jewish Museum - Search
    results Dan Pagis Self Past and Holocaust Mark Berghash American b 1935 Image Not Available Dan Pagis Self Past and Holocaust Mark Berghash American b 1935 Victims Holocaust Nancy Spero American 1926 2009 Mezuzah Case Aimee Golant American b 1973 Swedish Yarmulke Please Don t Forget Raoul Wallenberg Cary Leibowitz American b 1963 Exodus Gabriel Cohen Israeli b France 1933 The Crushed Brandenburg Gate Proposed Memorial for the Murdered Jews of Europe Horst Hoheisel German b Poland 1944 Sabbath Max Weber American b Russia 1881 1961 Mr Gretman Holding Picture of his Parents Laurence Salzmann American b 1944 Don t Look Back Ori Gersht Israeli b 1967 Miracle II Jacques Lipchitz American and French b Lithuania 1891 1973 The Importance of Silence Jimmy Ernst American b Germany 1920 1984 Crucifixion Saul Baizerman American b Russia 1889 1957 Untitled Robert Moskowitz American b 1935 H RR R and H PE Fred Wilson American b 1954 Untitled Guillermo Kuitca Argentinian b 1961 Exodus Lasar Segall Lithuanian active Brazil 1890 1957 War Drawing IV Adam This is the Picture We Saw Vivienne Koorland American b South Africa 1957 Reflections Paul Marcus American b 1953 Subject Matters Deborah Kass American b 1952 Jephthah s Daughter Natan Heber Israeli b Poland 1902 1975 Crushed History Zermahlene geschichte Horst Hoheisel German b Poland 1944 The Altar Leonard Baskin American 1922 2000 The Holocaust George Segal American 1924 2000 Pool into which ashes from crematoria IV and V were dumped Auschwitz Birkenau concentration camp P James Friedman American b 1950 Six Prayers Anni Albers American b Germany 1899 1994 Small Closet with Shirt Fabio Mauri Italian 1926 2009 Monument Odessa Christian Boltanski French b 1944 Vilna Nights Eleanor Antin American b 1935 Landscape with Black Sun Mordecai Ardon Israeli b Poland 1896 1992 Torah Ark Curtain Adolph

    Original URL path: http://thejewishmuseum.org/search/collection?keywords=Holocaust (2016-02-14)
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  • The Jewish Museum - Collection - The Feast of the Rejoicing of the Law at the Synagogue in Leghorn, Italy, 1850
    of the well traveled and prominent British painter David Roberts who was Hart s neighbor in London Roberts had in 1837 published a portfolio of Spanish scenes similar to Hart s later proposed Italian one which included church interiors Several of Roberts s interiors were shown at the Royal Academy between 1836 and 1850 In fact Roberts exhibited three church interiors along with Hart s similar subjects at the same 1850 hanging at the Royal Academy One of Hart s works listed in the 1850 Royal Academy exhibition catalogue appears to be the painting now in the collection of The Jewish Museum It may be based on an 1845 entry of the same title Using one of the artist s few observations of a Jewish structure during his Italian tour the work shows the interior of the magnificent synagogue in Leghorn originally built in 1591 This interior is perhaps the foremost example of the lavish redecoration common to Italian synagogues in the eighteenth century Hart captures a romantic vision of the exotic dress of his Italian coreligionists as they parade the scrolls of the Law on Simhat Torah the feast of the rejoicing of the Law This marks the end of the fall harvest festival Sukkot and is the holy day on which the yearly cycle of reading the Pentateuch ends immediately beginning again with Genesis Hart s other Jewish subjects reveal his ability to cleverly use his artistic resources and his visibility at the Royal Academy to demonstrate Judaism s cultural currency Yet in his long and distinguished submission of entries to the Royal Academy he seems always to temper his Jewish themes with English and Christian ones This sensibility to social and religious equity was triggered by the issue of civil rights for English Jews which was debated by Parliament in 1833 Hart s aforementioned 1850 Royal Academy entries are examples of this balance in Christian and Jewish ecclesiastical interiors Historical themes so popular during the 1830s could serve as an expression of his patriotism for example Sir Thomas More Receiving the Benediction of His Father 1836 He connects Englishness with Jewishness in The Conference of Menasseh ben Israel and Oliver Cromwell Similar nationalistic sentiments pervade Hart s literary themes which are chosen from masterpieces of English prose and poetry such as Shakespeare s The Merchant of Venice and Scott s Ivanhoe whose central characters are Jewish Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 126 127 The festival of Simhat Torah the feast of the rejoicing of the law is an occasion of great communal celebration It marks the completion of the annual cycle of reading the Five Books of Moses and the immediate beginning again with Genesis This work shows the celebration of Simhat Torah inside the magnificent synagogue in Livorno Leghorn Italy Solomon Hart the first Jewish member of the British Royal Academy depicts a romantic vision of Italian Jews in exotic costume as they parade

    Original URL path: http://thejewishmuseum.org/collection/18071-the-feast-of-the-rejoicing-of-the-law-at-the-synagogue-in-leghorn-ita (2016-02-14)
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  • The Jewish Museum - Collection - Adam and Eve Driven From Paradise, c. 1896-1902
    in his later years Tissot may have been influenced by the new phenomenon of moving images While the painter s stab at historical veracity can easily be faulted by contemporary standards he nevertheless created rich romantic and accessible images These in turn have provided sources for biblical visualizations by filmmakers from D W Griffith to Steven Spielberg In the imaginative truth of his reconstructions the artist fell prey not only to biased inaccurate research but also to personal penchants evident in his earlier works For example he used the headdress of a recently excavated Greek bust as a model for the coiffures of his biblical heroines This prop served his predilection for archaeological sources and his love of complex well designed costumes so apparent in his society painting Tissot s observation of the brightly colored camelback traveling compartment which he assumed to be an ethnographic variation on a much earlier prototype provided him with as much local color as did the vibrant banners on his earlier masterpiece The Ball on Shipboard Totally undocumented pastiches are evident in Joseph Dwelleth in Egypt Here motifs found on Egyptian jewelry have become imaginary standards through which he transformed stylized animal and vegetal motifs into cinematic pageantry Finally Tissot had no compunction about rendering Joseph with the same youthful face throughout the series of works that record his long life span Tissot s companion Kathleen Newton whose premature death at the age of twenty eight helped turn the society artist into biblical chronicler served frequently as the inspiration for his matriarchs and heroines Devastated by her demise in 1882 Tissot attended séances in an effort to contact her spirit As the artist recalls her oval face widely spaced eyes bow lips and prominent chin as Eve in Adam and Eve Driven from Paradise he may have been thinking of his lost love and his seeming exile from Eden Even in his biblical paintings Tissot remained as one critic cleverly remarked the painter of modern love Source Adapted from Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 44 45 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 44 45 Jewish Museum New York J JAMES TISSOT BIBLICAL PAINTINGS Exh cat New York The Jewish Museum 1982 pp 12 56 Small Lisa TELLING TALES II RELIGIOUS IMAGES IN 19TH CENTURY ACADEMIC ART New York The Studley Press 2001 p 30 Tissot James Jacques Joseph illustrator THE OLD TESTAMENT Part 1 Paris M de Brunoff 1904 p 8 Provenance the artist sold to Jacob Schiff February 1909 donated to the New York Public Library March 1909 transferred to TJM 1952 This information may change as the result of ongoing research Other Works in The Old Testament 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

    Original URL path: http://thejewishmuseum.org/collection/26667-adam-and-eve-driven-from-paradise (2016-02-14)
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  • The Jewish Museum - Collection - Spice Container, c. 1550, repairs and additions 1650/51
    Sabbaths and holy days As early as the first centuries of this era the smelling of aromatic spices was part of this ritual Nevertheless the first literary mention of a container for havdalah spices appears only in a twelfth century source and the earliest known example is this work dated to the mid sixteenth century The spice container is shaped like a four story Gothic tower whose masonry is pierced by various openings two rose windows pairs of lancets with an oculus above surrounded by an ogival arch and rectangular fenestrations A pinnacle with four surrounding turrets caps the tower The silversmith created an appealing balance between the lightness provided by the openings and the heaviness of the articulated masonry between the verticality of the tower form and the horizontality of the moldings and the balustrade separating the stories Comparison with a similar German table decoration suggests that The Jewish Museum s example dates from about 1550 Many parts of the work including the balustrade were repaired later A second flat base was riveted to the original and there are silver patches on the turrets A Hebrew inscription on the back apparently dates these changes Rekhlah daughter of Eliezer Dayan 5 411 1650 51 That the earliest spice containers are shaped like towers is not surprising given the widespread use of architectural forms in medieval metalwork including censers for church ceremonies It is very likely that the similarity in function between censers and spice containers to give off aromatic odors led to the adoption of the tower shape for havdalah containers Among the objects made for Jews that are recorded in the sixteenth century register of the Frankfurt Goldsmiths Guild is a Hedes oder Rauchfass Hedes is a transliteration of the Hebrew for myrtle and was the term used for a spice container in the Middle Ages the Frankfurt records equate it with Rauchfass the German word for censer Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 95 Bibliography American Bible Society THE LEARNING BIBLE NEW INTERNATIONAL VERSION American Bible Society 2003 Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 p 95 Bilski Emily OBJECTS OF THE SPIRIT RITUAL AND THE ART OF TOBI KAHN Hudson Hills Press 2004 Oklahoma Museum of Art SONGS OF GLORY MEDIEVAL ART FROM 900 1500 Exh cat Oklahoma City Oklahoma Museum of Art 1985 no 72 Mann Vivian B The Golden Age of Jewish Ceremonial Art in Frankfurt Metalwork of the Eighteenth Century LEO BAECK INSTITUTE YEAR BOOK no 31 1986 Mann Vivian B A TALE OF TWO CITIES JEWISH LIFE IN FRANKFURT AND ISTANBUL 1750 1870 New York The Jewish Museum 1982 p 97 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

    Original URL path: http://thejewishmuseum.org/collection/17819-spice-container (2016-02-14)
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  • The Jewish Museum - Collection - Portrait of Madame Peretz Hirshbein, 1924
    was an extraordinary group of Jews many from Eastern Europe who made impressive contributions to French modernist art By 1913 this Jewish contingent part of the School of Paris included Elie Nadelman from Poland Marc Chagall from Russia Jacques Lipchitz and Chaim Soutine from Lithuania Sonia Delaunay Terk and Chana Orloff from the Ukraine and Amedeo Modigliani from Italy These émigrés who lived and worked in Montparnasse forged strong personal and professional ties Orloff arrived in Paris in 1910 via Palestine where her family had settled and quickly entered the vibrant circle of artists in Montparnasse Her elegant highly stylized sculptures in wood and bronze characterized by their simple volume lyrical lines and smooth rounded surfaces brought her numerous portrait commissions By the 1920s she was riding a wave of success as a leading portraitist to fashionable Parisians and the cultural elite She absorbed the avant garde tenets of Cubism and prevailing influences of classical and primitive art and distilled them into reductive sinuous forms In 1924 Peretz Hirshbein 1880 1948 a Yiddish playwright and novelist known for his pastoral romance Green Fields commissioned Orloff to sculpt portraits of himself and his wife the Yiddish poet Esther Shumiatcher 1899 1985 The couple had married in 1920 and traveled around the world for two years a journey later chronicled in his book Around the World and her collection of poetry In the Valley Portrait of Madame Peretz Hirshbein displays the smooth surfaces and minimal detailing characteristic of the artist s work from this period Orloff captures the intelligence and inner reserve of her subject and softens the severity of her high angular cheekbones by slightly tilting her head The artist conveys her continuing interest in fashion she first worked as a sketcher with the couturier Paquin by modeling the refined sailor boy collar on Mme Hirshbein s dress and the intricate serpentine hair ornament In the companion bust Portrait of Peretz Hirshbein the sitter s pronounced raised eyebrows penetrating gaze and firm mouth combine to emphasize the forcefulness of his character One year after executing these two powerful heads Chana Orloff became a French citizen and was appointed Chevalier de la Légion d Honneur In her long prolific career she produced more than three hundred portraits of prominent European and Israeli artists writers and politicians besides other popular subjects like equestrian dance children and music Source Adapted from Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 216 217 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 216 217 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 Salom Italia 1619 after 1655

    Original URL path: http://thejewishmuseum.org/collection/20613-portrait-of-madame-peretz-hirshbein (2016-02-14)
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  • The Jewish Museum - Collection - Return of the Mariner, 1946
    movement that would become known as Abstract Expressionism In a letter to the New York Times they wrote There is no such thing as good painting about nothing We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless This is why we profess spiritual kinship with primitive and archaic art Gottlieb was at the center of this diverse group of artists that included Jackson Pollock Willem de Kooning Barnett Newman and Mark Rothko Along with writers and musicians these Abstract Expressionist painters and sculptors transformed New York into the new intellectual and artistic center replacing Paris as the avant garde mecca These artists were aware of the European modernists because of their recent arrival to New York in exile during World War II However seeking independent identities the Abstract Expressionists strove to create a distinctly American idiom Fourteen years after their declaration of artistic ideals The Jewish Museum mounted a solo exhibition of Adolph Gottlieb s work This inaugurated the focus on avant garde art that became seminal to The Jewish Museum s mission during the 1960s and provided New York with its first major museum exhibition of the work of an Abstract Expressionist artist Return of the Mariner is an example of Gottlieb s aesthetic and conceptual innovation that he called the pictograph He began by dividing his canvases into a grid which was a process that refers not only to Mondrian s rational modernist compositions but to the partitioned panels of Renaissance narrative altarpieces He then used free association a Freudian method formerly used by the Surrealists to fill the compartments with symbols He invented these from a lexicon of premodern tribal and mythological sources that he had seen during his travels Through his concentration on Carl Jung s theories of archetypes and the collective unconscious Gottlieb began to understand how to synthesize these various sources His paintings were also for the artist vehicles for addressing the brutality and destruction of World War II Gottlieb was one of the more reserved and intellectuals of the Abstract Expressionists spending time at his home in Brooklyn Heights instead of in the raucous Cedar Tavern in Manhattan where his cohorts gathered regularly For most of his life he kept a small boat at a dock in Brooklyn and sometimes raced regattas in New England The title Return of the Mariner refers to the voyages of Theseus and Odysseus as well as to Gottlieb s own recollections of his time on the sea The artist s conflation of the heroic and intimate the powerful and serene accounts for some of the mysterious force that imbues his paintings with a transcendent aura Source Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 56 57 Bibliography Berger Maurice et al MASTERWORKS OF THE JEWISH MUSEUM New York The Jewish Museum 2004 pp 56 57 This information may change as the result of ongoing research Other Works in Highlights

    Original URL path: http://thejewishmuseum.org/collection/27762-return-of-the-mariner (2016-02-14)
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