Don’t miss this opportunity to explore Israel off the beaten track, feel the conflict first hand, understand the security issues and politic realities, and have an unforgettable trip!
Smuggling Food (1943) pencil on paper by Halina Olomucki
Allegory (1948) tempera on panel by Ben Shahn
Head (1974) acrylic on canvas by Zoran Music
About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at email@example.com
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For many, contemplating our exile from our homeland is more of an intellectual endeavor than an emotional one.
I encourage all singles and their parents to urge their shadchanim to participate in ShadchanZone.
People definitely had stress one hundred and fifty years ago, but it was a different kind of stress.
It is inspirational to see the average Israeli acting with aplomb and going about daily routines no matter what is happening.
Participants wore blue and white, waved Israeli flags, and carried pro-Israel posters.
To support the Victor Center for Prevention of Jewish Genetic Diseases at Miami Children’s, please call 305-666-2889 or visit www.mchf.org/donate and select the “Victor Center” fund.
The course will be taught once a month for seven consecutive months and is designed for women at all levels of Jewish knowledge.
Like many of his contemporaries, he went through some hard years, but eventually he earned the rewards of his perseverance and integrity.
The president’s message was one of living peacefully in a Jewish and democratic state, Jews of all stripes unified as brothers, with Arabs or citizens of other religions.
What Hashem desires most is that we learn to connect with each other as children in the same family.
You are my brothers and sisters. Your pain is my pain.
ense, along with the voluminous Oral Tradition in the Talmud, its commentaries and elaborations, make the Jewish artist the richest creative person imaginable.
The midrashic world is a dangerous place to inhabit. It delves into our sacred texts to fathom their deeper meanings, solve vexing textual and conceptual problems and, finally, make sense of the holy words in contemporary terms. Midrash is passionate and deeply creative, like the current midrashic paintings of Brian Shapiro.
Our encounters with the Divine are precious moments of personal religiosity. We believe that when we pray we are speaking directly to God and that at that moment we are in the Divine presence. And yet we are seldom conscious of the awe and fear we should also feel.
Just look at the expression on Yonah’s face. It combines fear and incomprehension at his terrible punishment of floating in the belly of the great fish.
Two of Alan Falk’s biblical paintings immediately assault us aesthetically and thematically. Isaac Blessing Jacob (2009) and The Cry of Esau (2010) document the famous stolen blessing of Beraishis 27 and its consequences. The ancient Isaac is clad in a white nightshirt, raising his bony hands in blessing over his two sons. In one, Jacob has donned a curly-haired brown Afro deceitfully offering his blind father food, while in the other, Isaac’s trembling hands attempt to bless the hysterical Esau at his feet. The cartoonish figures are caught in a melodrama of high-keyed color and exaggerated gesture that casts the biblical tale into an unfamiliar and strange realm.
Empathy and memory meet in the work of Meer Akselrod (1902-1970), the Jewish Russian artist who defied aesthetic convention and totalitarian dictates to relentlessly pursue his personal artistic vision of painting the Jewish people. His quiet courage in the face of epochal changes that convulsed his Russian homeland cannot be overestimated. They are amply attested to by his artwork, not the least of which are two pen and ink drawings, Pogrom, from 1927 – 1928, currently at the Chassidic Art Institute.
When Brocha Teichman was a young girl growing up, she always drew pictures.
Printed from: http://www.jewishpress.com/sections/a-jewish-art-primer-part-v-after-the-catastrophe/2006/06/14/
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