Meir Panim’s Tiberias Free Restaurant not only provides warm meals, but the opportunity to socialize as well.
At a parent-teacher conference, one of my high school bible instructors told my mother I was well behaved and sat quietly in the back of the room. “If he is sitting quietly in class,” my mother assured the rabbi, “he is either reading a book or drawing.” She was right. My primary high school achievements were my ravenous readings of philosophy and literature and the few hundred copies I made of David Levine’s brilliant pen-and-ink caricatures, which filled several sketchbooks. I was too young to get most of his political references, but when they were explained to me, I laughed genuinely and hysterically.
Even after I moved to New York, it never occurred to me to look Levine up in the phonebook. He was a role model and one of my greatest inspirations, and I assumed that he was inaccessible. I had no way of knowing how kind and humble he was. Then I met artist Mark Podwal, a close friend of Levine’s, at an event at the Yeshiva University Museum in 2004, and he encouraged me to make the call.
David Levine. Ben Gurion.
I still remember the phone call. I was sitting at a computer in the office of the Yeshiva University Commentator. When Levine picked up, I told him I learned how to draw portraits by trying in vain to copy his meticulous cross-hatching. Though I was sure the artist who published thousands of drawings and paintings in the New York Review of Books and in publications like The New Yorker and Time had better things to do with his time, he shocked me by agreeing to an interview right then. After the shock wore off, chutzpah kicked in; I told him I wanted to meet in person. To my surprise, he was giving me his address in Brooklyn and telling me to stop by the next week.
Levine gave me more than two hours of his time, and actually looked at and critiqued every single one of the 100 or so of my drawings in the sketch book I brought. He very kindly told me that he preferred my copy of his Ezra Pound (which I drew without lifting my Rapidograph pen) to the original. Needless to say, there was no comparison.
There have been many fine articles about Levine over the past few weeks (Michael Kimmelman’s in The New York Times and Steven Heller’s piece “The Da Vinci of Caricaturists” are personal favorites), and readers can find out plenty about him by reading his bio on the Review of Books page, where many of his drawings are available. Amongst those drawings are dozens of images of Jewish and Israeli politicians, actors, artists, intellectuals and other celebrities, many bearing very distinct Jewish symbols.
David Levine standing in front of some of his drawings. 2004.
Photo by Menachem Wecker.
The reason I am writing this column about Levine, though, is not only because I consider him such a great caricaturist (and an even more impressive painter), but also because he was such a great man. Both Levine’s wife Kathy Hayes and his son Matthew Levine told me that Levine, despite the biting humor of his drawings, “truly loved his species.” Levine’s art was always blunt, but he was neither petty nor vicious.
Hayes told me that her husband’s lap was always full of art books, even if the television was on, and that he impressed her with the humor of his non-sequiturs – in his conversation, not his drawings. The first time she went to Europe with her husband, Hayes said, they went to Notre Dame. Hayes remembers being blown away by the art, while Levine, looking up at a painting high up on the wall, loudly complained of its water damage and the poor lighting.
According to Matthew Levine, his father was not religiously observant, but “I do know that he loved being Jewish.” Levine also “relished Yiddishisms that he liked to say,” said Matthew, and he loved his mother’s geshmirte matzoh. “He was deeply supportive of Israel in some senses, and deeply critical in others.”
Although Levine told me that he did not think Hitler could be depicted properly in a caricature, because the medium would invariably distort Hitler and play into his favor, Levine drew Hitler dozens of time. One reference to Hitler might escape many viewers.
David Levine. Richard Nixon’s and Spiro Agnew’s dance. 1970.
According to Podwal, Levine’s drawing of Richard Nixon and Spiro Agnew (which appears on page 11 of Levine’s book Pens and Needles), both dressed in military uniforms and doing a dance with their hands on their hips, alludes to Hitler’s bizarre dance on June 21, 1940, after accepting France’s surrender.
Although the dance upset many Americans at the time, it was later revealed that the video clip of Hitler dancing had been manipulated for propagandist purposes. As John Lukacs explains in his book, The Last European War: September 1939-December 1941, John Grierson, a Canadian filmmaker and “propaganda official,” took several images of Hitler, including one with a high step, and “looped” them together to make it appear that Hitler had danced a “silly little jig.”
Adolf Hitler’s alleged dance. Germany. October 1940. LIFE.
Lukacs cites an account of the jig being shown in a Berlin movie theater in 1940, which suggests some version of the dance may have been real – “Were the Germans so stupid as to show the American version of the newsreel?” Lukacs wonders – but either way, Podwal says Levine was probably unaware that the jig was a hoax. Irrespective of the historicity of the dance, Levine incorporated it into the drawing, although he knew full well that few people were likely to recognize it. It often seems to me that Levine achieved something in his caricatures not unlike what James Joyce accomplished in his writings.
“David was in such a class by himself that over the last decade or so, he was to some degree, taken for granted. The New York Times failed to review his more recent Forum Gallery exhibitions. Museums would not give him exhibitions he more than merited,” says Podwal. “Nevertheless, his work will remain a mirror of our time – just like the drawings of Thomas Nast.”
Menachem Wecker welcomes comments at email@example.com. He is a painter and writer, residing in Washington, DC.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
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Today is day six without a phone.
Besides for feeling slightly isolated, it’s not too bad.
I’ve been doing things that I know I would not be doing if my phone was sitting next to me, shiny screen beckoning.
Is anyone else alarmed by the way extended warranties are sold on just about anything and everything? It means one of two things – either someone has found a great way of getting consumers to part with more of their hard earned dollars or manufacturers have no faith in their own products. Neither of those options is particularly heartwarming.
As I described Gaon in a review in June 2001 (“In Search of Ancestors, Sculpture by Simon Gaon” at Yeshiva University Museum), his Bukharian Jewish roots are deeply embedded on both sides of his family, echoed in his early yeshiva education.
Let me begin by congratulating my dear machatunim, Soraya and Jay Nimaroff, on being the recipients of the Community Service Award at the Sderot Hesder Institutions 18th annual anniversary dinner.
Think of your issues this way: due to those different backgrounds, you have a “shovel” to deal with difficulties while he has a “spoon”.
Do you remember the good old days when kids were kids and there was never anything to worry about? Those days never really existed, but today there are issues kids worry about that weren’t issues for some adults. They include fear of bullying, natural disasters, divorce, and violence.
In Part I talked about celebrating 30 years of Regesh Family and Child Services providing services to children, teens and families. I shared the agency’s origin and the many lessons I have learned through this journey. As I mentioned, it is my hope that my experiences will add to your toolbox of life skills.
Unfortunately, a map of the Middle East with no mention of Israel is nothing new… It is surprising however, that the world’s largest publisher of children’s literature, Scholastic Books, has joined in this trend.
About six months ago my parents and I started discussing ideas for a mitzvah project in honor of my bat mitzvah. I wanted to do something unique that would be meaningful to me and also do something that my friends could participate in. Immediately I thought of an organization called Sharsheret.
“I’m disappointed that the agreement reached with Iran leaves our unfulfilled our ultimate objective: a complete dismantling of Iran’s nuclear program and related activities.
Southern NCSY will be holding a leadership training Shabbaton at the Young Israel of Bal Harbour December 6 and December 7. Rabbi Steven Weil, executive vice president of the Orthodox Union, will be the special guest speaker.
Is there a beginning and an end to the universe? What role can medical breakthroughs play in conception or genetic engineering? Can science help us pinpoint the end of human life? Does the soul emanate from the brain or vice-versa?
Last month’s column sketched the myriad of social programs in which the Orthodox American communal worker and leader Adolphus S. Solomons (1826-1910) was involved. Adolphus married Rachel Seixas Phillips (1828-1881), a descendant of colonial patriot families and together they had eight daughters and a son.
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Red By John Logan; directed by Robert Falls; starring Edward Gero and Patrick Andrews Jan. 20 – March 11, 2012 Arena Stage, 1101 6th Street, SW, Washington, D.C. http://www.arenastage.org One morning, Ken, Mark Rothko’s studio assistant, comes into the studio to fulfill his daily duties of stretching and priming his employer’s canvases. When he […]
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