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.
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. So too Noah peering out of the ark, perched on the edge of understanding that there might be a future for mankind. Both works point to the genius of Leonard Everett Fisher as an artist and interpreter of biblical narrative.
Leonard Everett Fisher is one of the master American illustrators of the last 50 years. His work is found in both adult and young adult publications, counting approximately 260 books since 1955 with at least 90 of those authored and illustrated by him alone. A native of the Bronx, in his youth he studied with Moses and Raphael Soyer in addition to Reginald Marsh at the Art Students League in New York. After a stint as a topographer during the Second World War he went on to Yale University for undergraduate and graduate degrees and then plunged into a successful commercial book illustration career. What is unique about his success is that he continued to make solely artistic works, simply driven by his own creative desire.
The current exhaustive exhibition at Hebrew Union College, beautifully curated by Laura Kruger, exploits both aspects of his 70-year career. In the spacious three interior exhibition rooms his mind-boggling exploits as a book illustrator and more recent creative works are explored. A sampling of his illustrated books of Jewish interest, many authored by Fisher himself, include: The Wailing Wall, The Dybbuk, To Bigotry No Sanction (Touro Synagogue), The Seven Days of Creation, Moses, The Wicked City (Sodom) and David and Goliath. Additionally we see some examples of his bestselling and masterful series “The Colonial American Craftsman.” These may be Fisher’s most successful work, a 19 volume series, published between 1964 and 1976, that is aimed at young adults and visually explores the material culture of our country’s foundation. The series includes volumes on glassmakers, architects, shipbuilders, blacksmiths, weavers, tanners, cabinetmakers; virtually every imaginable 18th century trade that was essential to building our new country.
Furthermore there is more recent artwork by this now 87-year-old artist. The Center Fielder (2010) is a large meticulous study of a baseball player about to catch a fly ball; poised between expectation and accomplishment. It is wonderfully odd in that the player’s baseball cap is pulled down so that he cannot actually see the ball he is about to catch. Added to this conundrum is the odd insignia of his uniform, Sigma Phi, which does not correspond to any known baseball team. It is mysteriously significant that these Greek letters represent the second oldest Greek secret fraternal organization in the United States, founded in 1827. Suddenly to expound upon the mysteries of baseball, here revealed in one enigmatic image, is yet another facet of Fisher’s creativity. The suspended ball flying towards the player’s mitt is an example of what Curator Laura Kruger identifies as a major motif in Fisher’s work. Again and again we see suspended objects and concentrated depictions of flat vertical surfaces; i.e. walls, that explores the tension between objects in motion and concrete backgrounds.
The cleverest painting in the exhibition is Noah. He stands inside the ark peering out its window at a dove in mid-flight bearing an olive branch in its beak. As we have observed before the bird in mid-air is a hallmark of Fisher’s style complemented by the solid wooden construction of the ark. But it is the play between Noah’s hands and facial expression that truly animates the painting. His hands tell us that he is about to do something – either to grasp the bird or to formulate a thought. The notion of being on the threshold of action is then concretized by the concentrated thought in his expression. Pursed lips and intense staring eyes tell us Noah has just realized the meaning of the dove returning with the olive branch. The fact that somewhere on dry land there is an olive tree tells him that soon he will be able to exit the ark with his family and all the animals and begin the process of recreating earthly life. Fisher’s focus on this moment of revelation narrates into Noah’s story, telling us he didn’t know exactly how God would conclude the destruction of the world. The artist has uncovered the narrative of hope and faith in Noah’s tale.
Richard McBee is a painter and writer on Jewish Art. Contact him at firstname.lastname@example.org
About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at email@example.com
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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.
While all the flowers that grace your Shavuos table will surely be a delight to your eye, these will be a delight for your palette as well. Create them at any level, simple or sophisticated; any way you make them they’re sure to be a sensation.
Welcome back to “You’re Asking Me?” where we attempt to answer questions sent in by people who fortunately have fake names, so they won’t be embarrassed. I don’t know how they got through school, though.
Speechless wonder is the reaction to the beautiful vision seen though the Arch of the Keshet Cave at the Adamit Park in the Galilee. One of the most amazing natural wonders in Eretz Yisrael, the Me’arat Hakeshet — also known as the Rainbow Cave or Arch Cave — can be found up against the Israel-Lebanon border just a few kilometers from Rosh Hanikra and the sparkling blue Mediterranean Sea. It is situated amid the wild scenery on the cliffs of Nachal Betzet and Nachal Namer, on the Adamit Ridge.
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/leonard-everett-fishers-challenge-3/2011/10/16/
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