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A study of the extent to which the Holocaust - as a major historical event - influenced Western art. Pt. I (pp. 3-127), "Depiction, " discusses many artists and their works. Pt. II (pp. 131-366), "Interpretation, " analyzes primary Holocaust symbols, biblical imagery, "the crucified Jew, " myths, abstraction, and Jewish identity. Pp. 367-509 contain notes to the above chapters, and pp. 511-546 give an extensive selected bibliography. The plates contain reproductions of 560 paintings and drawings.
The essays collected in this volume present a multi-faceted range of scholarship from late antique synagogues, Jewish funerary art, early Christian and Byzantine mosaics, to Byzantine and Jewish book art, and the representation of the Old Testament in Western manuscripts.
Every so often, the organizers of an art exhibition attempt to address head-on issues of interest in the world of contemporary politics. Russian Jewish Artists in a Century of Change, 1890-1990 represents such an undertaking. With the break-up of the Soviet Union, countries and cultures under Soviet control suddenly opened up to the West. In the past few years, as information has begun to flow more freely, art historians have found themselves having to re-examine their subjects and concerns in the light of newly accessible information. Nowhere is this situation more apparent than in the study of Jewish artists in Russia. Until recently, books and catalogues written in the West have concentra...
Focusing on 19th-and 20th-century European, American and Israeli artists, the contributors explore the ways in which Jewish artists have responded to their Jewishness and to the societies in which they lived (or live), and how these factors have influenced their art, their choice of subject matter, and presentation of their work.
Born over a fifty-year period, the artists in this volume represent several generations of twentieth-century artists. Examining the work of such influential artists as Mark Rothko, Max Weber, and Ruth Weisberg, Baigell directly confronts their Jewish identity—as a religious, cultural, and psychological component of their lives—and explores the way in which this influence is reflected in their art. Drawing upon their common heritage, Baigell reveals the different ways these artists responded to the Great Immigration, the Depression, the Holocaust, the founding of the state of Israel, and the rise of feminism. Each artist’s varied Jewish experiences have contributed to the creation of a ...
Samuel Bak (b. 1933, Vilna) is an artist and Holocaust survivor; he and his mother were among the few thousand Jews of Vilna who were liberated by the Soviet army in July 1944. His father was shot a few days before the liberation. The present album consists of 20 paintings commissioned as a project to explore the "landscapes of Jewish experience" theme - Jewish images such as the Tablets of the Law, the Magen David, the Tree of Life. These paintings capture the modern experience as defined by the Holocaust. Pp. 2-28 contain the essay by Langer, and the rest of the album presents the paintings with Langer's commentary.
Judenmord is the first collection of works of art specifically by German artists from the end of the war to the end of the 1960s that comment on the Holocaust.
Unlike earlier generations, Jewish American artists born between the 1930s and the early 1960s were among the first to overtly embrace and challenge religious themes in their work. These Jewish artists felt comfortable as assimilated Americans yet developed an overwhelming desire to explore their cultural and religious heritage. They became the first generation willing to take risks with their material and to discover new ways to create art with Jewish religious content. In his most recent book, Baigell explores the art and influences of eleven artists who enlarged the parameters of Jewish American art through their varied approaches to subject matter, to feminist concerns, and to finding contemporary relevance in the ancient texts. Along with detailed essays on each artist, the book includes nearly one hundred stunning illustrations that testify to the beauty, depth, and importance of the paintings and sculptures produced by this groundbreaking generation of artists.
At the close of the twentieth century the stereotyping and demonization of 'others', whether on religious, nationalist, racist, or political grounds, has become a burning issue. Yet comparatively little attention has been paid to how and why we fabricate images of the 'other' as an enemy or 'demon' to be destroyed. This innovative book fills that gap through an interdisciplinary, cross-cultural approach that brings together a distinguished array of historians, anthropologists, psychologists, literary critics, and feminists. The historical sweep covers Greco-Roman Antiquity, the MIddle Ages, and the MOdern Era. Antisemitism receives special attention because of its longevity and centrality to the Holocaust, but it is analyzed here within the much broader framework of racism and xenophobia. The plurality of viewpoints expressed in this volume provide fascinating insights into what is common and what is unique to the many varieties of prejudice, stereotyping, demonization, and hatred.
The Holocaust has bequeathed to contemporary society a cultural lexicon of intensely powerful symbols, a vocabulary of remembrance that we draw on to comprehend the otherwise incomprehensible horror of the Shoah. Engagingly written and illustrated with more than forty black-and-white images, Holocaust Icons probes the history and memory of four of these symbolic relics left in the Holocaust’s wake. Jewish studies scholar Oren Stier offers in this volume new insight into symbols and the symbol-making process, as he traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. Stier focuses in particular on four icons: the railway cars that carried Jews to th...