web analytics
July 22, 2014 / 24 Tammuz, 5774
Israel at War: Operation Protective Edge
 
 
At a Glance
Sections
Sponsored Post
IDC Advocacy Room IDC Fights War on Another Front

Student Union opens ‘hasbara’ room in effort to fill public diplomacy vacuum.



Home » Sections » Arts »

Shuls On My Mind: Robert Feinland’s Paintings

Synagogue for the Arts (2000), oil on linen by Robert Feinland. Courtesy Chassidic Art Institute

Synagogue for the Arts (2000), oil on linen by Robert Feinland. Courtesy Chassidic Art Institute

Feinland returned to the roots of his faith in the last decade as he concentrated on urban paintings of the Crown Heights neighborhood. The mikveh at Union Street and the venerable Chovevei Torah synagogue naturally figured in his gaze. Not surprisingly 770 Eastern Parkway became a major motif for Feinland to explore. After being away for so many years, his repeated visitations over the last 14 years have earned him the reputation as a well-known neighborhood artist.

Conversations Under the Moon (2011), oil on linen by Robert Feinland. Courtesy Chassidic Art Institute

Almost half of Feinland’s paintings in this exhibition contain the iconic 770, depicted from different angles and at different seasons. The largest is a diptych, Conversations Under the Moon and was completed this last year after at least 20 outdoor sessions. It was well worth all the effort.

Feinland has again bent the space in the painting, applying an arching curvilinear perspective, to provide us with a palpable sense of almost two city blocks; from 770 itself, to the yeshiva and World Headquarters and past the modernistic Jewish Children’s Museum to the row houses that stretch to the corner of Albany Avenue. He has also broadened our view to include the Eastern Parkway Pedestrian Mall lined with park benches. The sidewalk is populated with dozens of young men, many talking on cell phones, and a handful of women with strollers, all enjoying what appears to be a sunny Spring morning. One is struck by the visual tension between the left panel, whose perspective seems to “normally” recede in the distance, and the street in front of 770 that sharply curves to accommodate a more frontal view of the architectural symbol of the Lubavitch movement. It is deeply significant that Feinland’s diptych manages to simultaneously resolve the perspectival conflict and yet maintain its tension. Central to the concept of curvilinear space is the notion of simultaneously different visual points of view. Here the two-part image combines the iconic 770 – the Rebbe’s seat of power and holiness – and the street stretching away into the more mundane world of the surrounding community.

Mitzvah Tank (2011), oil on Masonite by Robert Feinland. Courtesy Chassidic Art Institute

As is not surprising in Crown Heights, the Rebbe is never far from anyone’s consciousness. Mitzvah Tank is a quiet visual essay on the ubiquitous image of Rabbi Schneerson. A parked Mitzvah Tank (which is essentially a traveling shul), seen from the back, dominates the simple view of a tree-lined Crown Heights street. Situated in what is almost exactly the center of the painting is the Rebbe’s familiar image next to “Moshiach is Coming Now!” In the simplest of ways Feinland expresses a fundamental belief of an entire community.

Rebbe’s House (2002), oil on linen by Robert Feinland. Courtesy Chassidic Art Institute

About three blocks from 770 is the Rebbe’s personal house, now sitting unused. Feinland’s intense curvilinear image seems to echo the considerable amount of the controversy and tension over the great leader’s legacy. In the sweep of the three houses shown, his house is cast into dramatic relief, seeming to tower over the viewer just as the jagged tree on the foreground curb stabs the sky above. It is a painting of sharp angles and twisted forms that are held in place by the green grass lawn and stately pine tree immediately in front of the house itself. Like many of his best paintings, it manages to combine complexity, drama and commentary in a beautiful image.

As we all know the command to “draw close to Hashem” is a fundamental religious act. Once that was originally satisfied by offering sacrifices at the Temple and now, without a Temple, we minimally fulfill it by learning Torah and daily prayer. Robert Feinland’s synagogue paintings bend space with a curvilinear consciousness, bringing close houses of Jewish faith and belief, allowing the viewer to be brought close both visually and mentally. In his way his work becomes another avenue through which we can “draw close to Hashem.”

Richard McBee is a painter and writer on Jewish Art. Contact him at rmcbee@nyc.rr.com.

About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at rmcbee@nyc.rr.com


If you don't see your comment after publishing it, refresh the page.

Our comments section is intended for meaningful responses and debates in a civilized manner. We ask that you respect the fact that we are a religious Jewish website and avoid inappropriate language at all cost.

If you promote any foreign religions, gods or messiahs, lies about Israel, anti-Semitism, or advocate violence (except against terrorists), your permission to comment may be revoked.

No Responses to “Shuls On My Mind: Robert Feinland’s Paintings”

Comments are closed.

SocialTwist Tell-a-Friend

Current Top Story
Netanyahu tries to bring UN's Ban down form the moon in Tel Aviv Tuesday.
UN’s Ban on the Moon with ‘Stop Fighting, Start Talking’ Message
Latest Sections Stories
book-Family-Frayda

Written entirely through Frayda’s eyes, the reader is drawn by her unassuming personality.

book-I-Kings

Adopting an ancient exegetical approach that is based on midrashic readings of the text, thematic connections that span between various books of the Bible are revealed.

book-Unify-A-Nation

While Lipman comes from an ultra-Orthodox background and is an Orthodox rabbi, he offers a breath of fresh air when he suggests that “polarization caused by extremism and isolationism in the religious community may be the greatest internal threat to the future of the Jewish people”

Schonfeld-logo1

The Joys of Yiddish, Leo Rosten defines a mentch as “someone to admire and emulate, someone of noble character.”

Certainly today’s communication via e-mail, Facebook, Twitter and the like, including the ubiquitous Whatsapp, has reduced the need to talk with people and communicate at length.

These two special women utilized their incredibly painful experience as an opportunity to assist others.

Maybe we don’t have to lose that growth and unity that we have achieved, especially with the situation in Eretz Yisrael right now.

Sleepily, I watched him kissing Mai’s chubby thighs.

I have always insisted that everything that happens to anyone or anything is min Shamayim.

My teachers like me and they tell my parents that I am a great girl with good middos.

The chicken and waffle nuggets were fabulous and were like chicken in a dessert form.

“Have you forgotten your dreams?” The Hope Merchant asks a defeated and hopeless Lily when she “happens” upon his shop.

The universe was created by God out of nothing; it has not always existed.

He combined intellectual achievement with deep spirituality and religious devotion.

More Articles from Richard McBee
McBee-062014-Outside

He refuses to flinch from our painful history, perhaps finding a kind of solace in the consistency of irrational enmity directed against us.

With Without (2011) Performance, digital print by Ken Goldman
Courtesy The JCC in Manhattan

“Vidduy: The Musical” breaks through the formidable barrier of repetitive confession to allow us to begin to understand what is at the heart of this fundamental religious act.

A fascinating glimpse into the rich complexity of medieval Jewish life and its contemporary relevance had intriguingly emerged.

Silverstein’s work has long concerned itself with the intersection between the personal and Jewish Biblical narrative, significantly explored in this column in “Brighton Beach Bible” (July 27, 2009).

Not surprisingly the guardians of synagogue tradition is male dominated in both Moses Abraham, Cantor and Mohel and Synagogue Lamp Lighters.

Neither helpless victims nor able to escape the killer’s clutches, the leaders had to make impossible choices on a daily basis in a never-ending dance with the devil.

Bradford has opted to fully exploit the diverse possibilities of the physical surface by concentrating on the three-dimensional application of paint (impasto) and other material.

The ostensible outsider frequently has the privilege of seeing the exclusive inner sanctum with fresh and unbiased eyes. Artists’ initial encounters with the Talmud are equally blessed.

    Latest Poll

    Israel's Iron Dome Anti-Missile System:





    View Results

    Loading ... Loading ...

Printed from: http://www.jewishpress.com/sections/arts/shuls-on-my-mind-robert-feinlands-paintings/2012/04/26/

Scan this QR code to visit this page online: