Chillul Tefila Bifarhesia, as well as halachicly challenged verbiage and dress, are external manifestations of a critical lack of personal yiras shomayim which has lethal consequences.
Two highly successful artists, the husband and wife team of Emmanuil and Janet Snitkovsky, are currently exhibiting a selection of eight large Judaic paintings at the Chassidic Art Institute in Crown Heights. Three of those paintings are truly singular visions of Jewish Art that cause us to stop and reassess our preconceptions about the meaning and importance of their subjects.
Emmanuil and Janet Snitkovsky were both born in the Ukraine in the 1930′s. Emmanuil was trained in Odessa in public monument art, and Janet majored in fashion at the Lvov Decorative Art Institute. After both narrowly survived the devastation of the Second World War in Stalin’s Russia, they began to collaborate on state sponsored art works in 1962. For ten years, they worked on grandiose public sculptural projects to commemorate the fallen Russian heroes of the Second World War in Moscow, Kiev, Tula and Kazan. They were exemplary Soviet Realists working for the Soviet regime. Eventually, this career became untenable for them, both as artists and as Jews, when they clashed with Soviet officialdom over a commission to commemorate the Babi-Yar massacre.
The Soviets refused to acknowledge this massacre of 100,000 Jews and eventually suppressed the memorial. In 1978, Emmanuil and Janet arrived in New York and began to recreate their artistic lives. In the ensuing 25 years, they have been quite successful, exhibiting widely in the United States and Europe.
They have nurtured a hybrid style of painting and sculpture called “Renaissance Revival” combining contemporary and classical subjects in a stylized realism that evokes both the American regionalist Thomas Hart Benton and the Italian Renaissance master Sandro Botticelli. The works are highly proficient, polished, and commercial productions in a quirky decorative style. They have continued to accept sculptural projects that have not shied away from kitschy realistic sculptures of Charlie Chaplin as “The Kid,” The Little Tramp” and Buster Keaton as “Cameramen.” In some ways, they have appropriated American culture just as they once accepted Soviet culture.
Young Hasid With Sefer Torah presents a parody of a stock sentimental image of youthful pietistic devotion. All the elements are there, a young hasid with peyos nearly as long as his talis katan peeking out from under his shin length beckesheh. He grasps the Sefer Torah, somewhat magically supporting its weight, as he strides across a black and white tiled floor.
Incongruously, a white bird follows him bearing a single lit candle that perhaps announces some kind of mystical wedding. The image becomes stranger as we notice that the background, a storied city and turbulent sky, presumably Jerusalem, is but a painted backdrop. Now the two fragments of a talis seen on each side of the painting fall into place as a kind of curtain that frames the iconic hasid with his Sefer Torah. In this painting, Snitkovsky comments on the stock image that it may be simply a play unveiled before a cardboard holy city. Certainly not what we might expect.
Moses And The Reed Sea is a similarly jarring image. Moses is striding forward, the waves beating a hasty retreat from his aggressive steps. An octopus glares out at us as his abode is uncovered by the great Jewish leader marching forward led by a pure white sea gull, perhaps representing an angel. B’nai Yisroel follow obediently in a long line that stretches back to the pyramids at the horizon, watched over by a lone Masonic Eye floating in the sky. This curious combination, the All Seeing Eye and the Pyramids, is a motif found on the back of the U.S one dollar bill. Moses, grasping a bamboo staff in one hand and a mysterious scroll in the other is depicted as a force of nature, his hair and beard blowing just like dramatically furious storm clouds. Emmanuil and Janet’s wit and charm bring us into the heart of the mythic narrative that seems be pointing to a latter-day Exodus out of American materialism and into an unknown future Promised Land.
What makes these paintings exciting is that each uses traditional Jewish imagery to reassess normative values and assumptions. We would not normally think of a young hasid as a play-actor or of Moses at the Reed Sea as a driven contemporary figure, and yet Snitkovsky’s paintings push us towards these thoughts. The next painting goes even further to uncover a layer of meaning about the nature of wisdom.
The Judgment of Solomon, painted in 1981, presents an iconic vision of exactly how the wise King Solomon made his famous decision between two women who both claimed the same infant (Kings 1; 3:16-28). Both women are clad in a warm red dress framing King Solomon. There is a poetic dance of six hands, each expressing one aspect of the narrative. Solomon symbolically threatens the child (nestled in a basket between the women) as his raised hand magically balances a sword that floats above his right shoulder. Solomon’s evenhandedness is the cunning stimulus to resolution as his gesture slices between the competing claims. The woman on the left seems willing to give up the child to save its life, pushing the basket away, while the other gestures dramatically that “Neither mine nor yours shall he be. Cut!”
Snitkovsky’s mannered rendition of gesture, costume and lighting add to the drama to allow us to fully appreciate Solomon’s wisdom just before the matter was resolved. King Solomon looks directly at us, challenging us to decide as the tension of the moment becomes close to unbearable. The artist’s point yet again is to bring the audience into the fabric of the narrative to engage us in the complexities of judgment that are as fully relevant today as they were close to three thousand years ago.
Emmanuil and Janet Snitkovsky have utilized their popular and commercial style to develop a successful career in America. When they turn their talents to Jewish subject matter, a very different kind of artistic success ensues. The Jewish art that emerges is one in which Jewish piety, leadership and even wisdom are examined through a vision forged in the restrictive crucible of Soviet Realism and developed in the heady surrealism of American popular culture. They force us to share their turbulent history that endured a totalitarian dictatorship and the jarring encounter with a brash America. After seeing these challenging paintings, these Jewish subjects will never be quite the same.
Emmanuil And Janet Snitkovsky – Paintings Chassidic Art Institute – 375 Kingston Avenue, Brooklyn, New York 11213; (718) 774-9149. Noon – 7 p.m.; Sunday – Thursday: Zev Markowitz, director.
Richard McBee is a painter of Torah subject matter and writer on Jewish Art. Please feel free to contact him with comments at www.richardmcbee.com.
About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at firstname.lastname@example.org
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Florida is famous for sparkling water. We have the beautiful Atlantic Ocean and Gulf of Mexico surrounding our coast. We have bays, lakes, canals and, of course, an incredible abundance of swimming pools in homes, resorts, apartment complexes and city parks.
The buzz is back as Camp Gan Israel Florida Overnight gears up for another fantastic summer, CGI Florida style. What makes CGI Florida so different from all the other overnight camps? It’s all in the details.
Leah Katz, a TeenZone camper at Oorah’s TheZone summer camp and an 11th grader at Midwood High School, read her winning essay about how TheZone changed her views on Judaism at the Jewish Heritage Awards Ceremony held at Brooklyn District Attorney Charles Hynes’s office in April. The purpose of the Jewish Heritage Essay Contest is to acquaint public school students with Jewish history and customs and to help foster a deeper understanding of Jewish culture. The contest is open to students of all ethnic and religious backgrounds. Leah’s essay is reproduced in full below.
Moshe Sharett, the head of the Jewish Agency’s Political Department, visited Egypt in 1945. In Cairo he met a most remarkable young woman, a beautiful journalist who was the darling of Egyptian high society – from high-ranking military brass, to culture icons and Muslim sheikhs, to the court of King Faruk.
The two proceeded to talk about everyday things and surprisingly her mother-in-law did not find anything else to criticize. This occurred a few more times, with my client changing the topic every time by complimenting her mother-in-law or mentioning something positive about her.
There is always a lot of confusion surrounding sensory processing disorder – mainly because there are many different diagnoses that fall under the catch-all phrase sensory processing disorder (SPD). Among them are three specific subcategories:
The doctor had warned us that even if we did everything right and followed the protocol after the follicle was of the right size, there was no guarantee of success. Fertilization still had to occur, and just like couples do not necessarily become pregnant every month, we had no way to know if we were actually expecting for two full weeks.
The next chapter of the award-winning novel.
Jewish Press columnist Rebbetzin Esther Jungreis, founder and president of Hineni, the international Torah outreach organization, recently addressed an overflowing audience at the Beth Jacob Congregation of Irvine in southern California. Rebbetzin Jungreis’s address theme, “Making a Good Relationship Magical,” was apropos for the evening’s main mission: raising funds for the Irvine community’s mikveh.
You have probably been planning your marriage since you were about three. Let’s fast-forward to a big milestone– your twenty-fifth wedding anniversary. (Don’t worry, you don’t look a day over twenty one!) Now, would you appreciate your husband buying you a dozen roses that some florist recommended?
As I mentioned in my earlier articles about our family trip to Israel, our night flight went pretty smooth, thanks to my children’s willingness to sleep throughout the flight. I, on the other hand, didn’t sleep a wink and I wasn’t feeling too great by the time we landed. But we were finally in Israel, and just being in the beautifully renovated Ben Gurion airport and hearing all the Hebrew around us was exciting enough.
In the eyes of the ram lies the artist’s commentary on the Rosh Hashanah piyyut “The King Girded with Strength.” From the Tripartite Mahzor (German 14th century), this illumination simultaneously echoes the piyyut’s praise of God’s awesome power and expresses the terror of actually being a sacrifice to God. The ram is but a reflection of Isaac. It is all in the eyes.
Reaching back in time to reclaim a family for herself and, in a yahrzeit moment, to rekindle lives snuffed out, Diana Kurz’s paintings stand as testaments to victims of the Holocaust. After a successful 20 year career as an artist and teacher, (with a strong feminist bent), in 1989 Kurz happened upon a few surviving photos of her own relatives “who disappeared during the war.” Suddenly her past opened up and possessed her. This spring (April 4 – May 2, 2012) a series of these paintings was shown at the Art Gallery at Kingsborough Community College, CUNY.
Examining a choice selection of drawings done by Itshak Holtz over 30 years ago is a rare pleasure that allows for the appreciation of his unique sensitivity and insights. I was afforded that pleasure at the inaugural exhibition of the Betzalel Gallery in Crown Heights this past May. Although this modest selection of 25 drawings and watercolors of this paradigmatic frum artist ranges from 1963 to 1999, the majority of the works is from the 1970s and reveals a special aspect of his inner artistic soul. The selection of images could easily narrate the fabric of ordinary Jewish life.
Earlier this year I was presenting my survey of Jewish art, “A Jewish Art Primer,” in a West Hartford, Connecticut synagogue and during the intermission a local artist, David Holzman, introduced himself to me. He relayed his rich and fascinating artistic background and then produced a portfolio of 8 black and white prints that he generously gave to me as a gift. As a tantalizing glimpse into recent work, they are truly amazing and I would like to share them with you.
Boris Schatz (1866 – 1932) had a revolutionary vision. He believed that the creation of a new modern Jewish visual culture would become a major force to both articulate a Jewish national identity and sustain the Zionist enterprise. In 1904 he approached Zionist leader Theodor Herzl with the proposal to establish a national arts and crafts school in Palestine and got his blessing. Tragically Herzl died later that year, but the Zionist leadership in Vienna assumed responsibility for the project and its funding.
The exhibitions that precede Judaic auctions are rather special events for anyone who has a feeling for the fabric of Jewish life as it has been lived for the last 500 years. Not only is one afforded the opportunity to see a wide variety of Judaica, books, manuscripts and Jewish art of considerable historic importance, but if something strikes your fancy; intellectually or acquisitively, you can actually handle the objects. For most artwork the thrill is in seeing it up close and judging the brushstrokes and details of a painting or watercolor. One stands in the exact proximity as the creator did.
The auction at Christie’s in Paris this May 11 of a Tuscan Mahzor, created and illuminated in the 1490’s, will be an extraordinary event. This rare example of illuminated Jewish art has not been seen publically in over 500 years and, aside from tantalizing internal suggestions, lacks conclusive identification of the scribe and illuminators. Because the gold-tooled goatskin binding was made about 50 years after the manuscript and has a different coat of arms than those found in the machzor, it is assumed that this prayerbook may have quickly changed hands.
One thing is certain about Robert Feinland – he has shuls on his mind. His career has spanned over 40 years, exploring landscape, cityscape, sculpture and abstraction. For many of those years he has focused on the relentlessly changing urban landscape of New York, feeling the necessity to document and, in some way preserve, the physical fabric of the city he loves. A selection of recent paintings, most concentrating on the Crown Heights community, is currently at the Chassidic Art Institute. Many of the images are of shuls.
Printed from: http://www.jewishpress.com/sections/emmanuil-and-janet-snitkovsky-paintings/2004/08/18/
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