web analytics
August 30, 2015 / 15 Elul, 5775
At a Glance
Sponsored Post

Home » Sections » Arts »

Piety And Art: Zvi Malnovitzer’s Paintings

Zvi Malnovitzer

Mayanot Gallery

28 King George Street, Jerusalem, Israel 91073

972 2 625 0916


Yael Gahnassia, Director



Piety and paintings of pious Jews, what a dangerous mix!  It takes considerable courage to dedicate oneself to making art, not to mention to do so within the Orthodox community.  That is what Zvi Malnovitzer did.  He was raised and educated in a Hasidic community in Bnai Brak, Israel and while learning at the Ponevezh Yeshiva he somehow found the time and energy to learn to draw.  And he wasn’t satisfied depicting the stacks of Gemaras and commentaries he studied daily. Rather, a drawing from 1957 depicts the exile of bewildered Jews emerging from a tunnel overseen by six armed men on a balcony above.  Even as a youth Malnovitzer’s artistic seriousness and sensitivity was paramount. 


Zvi Malnovitzer’s work, as represented in two handsome catalogues published by Mayanot Gallery in 2000 and 2007, falls into two general categories: refugees and a broad array of genre depictions of the Hasidic community.  Both areas of subject matter are fraught with the dangers of pietistic treatment that threaten to dilute and trivialize the seriousness of his subjects.  Most of his works manage to avoid the inherent dangers of his chosen themes.  Whether the study hall, synagogue, or mikvah, fish market, matzah bakery or wedding hall, the fabric of Jewish life is examined with compassion and insight only possible from an insider, an artist who has lived in his subject’s lives. 


In his youth, the artist’s education extended well beyond the streets and alleys of Bnai Brak and the yeshiva walls to the precincts of the Rijksmuseum in Amsterdam to absorb the influence of Rembrandt.  Further European travel took him to the Prado in Madrid to take in the visual and social complexity of Goya’s works. Malnovitzer has gracefully adapted these influences, producing occasionally romantic but realistic images of his subjects.  Notably, he tends to favor dramatic lighting and Old Masters atmosphere that often utilizes bravura brushwork of the modern expressionists.  To my sensibility, he is at his best when he observes from the fringes of his pious world or plumbs the depths of exile and homelessness.



Refugees (2005), oil on wood by Zvi Malnovitzer

Courtesy Mayanot Gallery



A consistent series of images on exile that spans his long career, start with the aforementioned early drawing right on down to Refugees (2005).  Typically they contain 10 to 20 figures either marching in a line to some undefined location or standing in great anticipation of their imminent arrival.  The settings are almost always outdoors, with the exception of Refugees at Train Station (ca. 2000) that is paradoxically set on an elevated train station in Boro Park, Brooklyn. 


Refugees (2005) in this series is unusual, in that the figures are trudging directly towards the viewer with a sad little girl sporting a red dress being carried by her father on his shoulders. She is clearly representative of the entire group; helpless, exhausted and dependent on the strength of others.  He sees this as a permanent condition of the Jews; “We are always wandering, continuing to wander, even here. We have not arrived yet.  We are still on the way.”


The vast majority of Malnovitzer’s work explores the complex drama of Jewish communal life, deeply involved in ritual.  Over the years his subjects have included Havdalah, Kiddush Levana, Simchas Torah celebration, Tashlich (notably on the beach) and the Rebbi’s Tisch. 



Lag B’Omer (1900’s), oil on canvas by Zvi Malnovitzer

Private Collection, New York



In Lag B’Omer (1990s) the motif of figures dancing around the blazing bon fire captures the spirit of release and celebration that characterizes the cessation of mourning for the Jewish community. As we notice the mountain outlined against the night sky, we suddenly realize that the five glowing areas of color are actually other bon fires, each with its congregation of Jews celebrating.  The enthusiasm in the painting and freedom in the handling of paint transforms the scene into a commentary on communal joy.



Hasidic Huppah (2000’s), oil on wood by Zvi Malnovitzer

Courtesy Mayanot Gallery



Another favorite subject is the Hasidic Huppah, seen here in a recent painting.  Its merit exists in its extreme simplicity, the wedding party massed in two uneven groups around the radiating whiteness of the bride’s gown and veil.  The artist’s ability to pick out just enough detail to create a crowd of 11 attentive faces in a such a diminutive painting, only 14″ x 11″ is truly stunning. 


The four children woven into the wedding party gives the adult figures real scale while the overall space soars upward to contain the red huppah that shelters the celebrants; effectively floating over them is the barely visible Magen David.  By abstaining from dramatic emotions and details, Malnovitzer allows his composition to convey the true gravity of this holy moment.  The women on the left gaze at the bride both in awe and pride, while the groom attentively listens to the mesader kidushin, as the hopes and blessing of his future life are consecrated by G-d.


While Malnovitzer has done many single genre figures, rebbes, grandfathers, musicians and portraits − all staples of a certain kind of Jewish art − nonetheless, the majority of his major paintings are of multiple figures engaged in the full gamut of Jewish life.  And whether single figures or multiple, he tackles subjects seldom, if ever, depicted.  Jewish soup kitchens for the poor vie with studies of older men drying and dressing after a dip in the mikvah.  A recent canvas even depicts a butcher pulling the hide off a just slaughtered animal. 



Walking to the Synagogue (2005), oil on canvas by Zvi Malnovitzer

Private Collection, New York



Another unusual image is a charming painting, Walking to the Synagogue (2005) that shows yet another facet of his creativity.  Two figures are walking on a rainy and windy day.  One is laboring with a cane, being helped by a friend.  The man with the cane walks hesitantly, each foot uncertain in the wet slippery street while the kind friend is seen from a peculiar perspective so that he appears to have only one leg.  The psychological tension between the two radically different figures is reflected in the ironic difference in appearance.  The man with two legs struggles while the “one-legged” man is assured and helpful.  Appearances are deceiving.


As we review Malnovitzer’s work over the years, we start to see exactly how unusual he is as an artist, especially one living and working within a Hasidic environment.  Perhaps emblematic of this, is his concentration on paintings of women.   In a Hasidic world so dominated by men, depictions of women are extremely rare and yet, Malnovitzer’s renderings of Hasidic women at prayer are a moving insight into a very private corner of the Haredi world. 



Women Praying (2006), oil on canvas by Zvi Malnovitzer

Private Collection, New York


One work, Women at Prayer (2006) is a complex composition of married and unmarried women. On the right, four young women surround a young, married woman who is davening, her hair covered in a close-fitting scarf.  On the left, more married women daven with a beautiful concentration. 


In another recent painting, Women Praying (2006), the scene changes.  Here, a middle-aged woman sits in the foreground at the end of a bench of other women praying or saying Tehillim.  She is slouched over absorbed in the familiar words.  It is very likely a scene from a waiting room that reflects female piety in its most public aspect.  For many religious women, there is no such thing as a wasted moment that is not saved by the recitation of the Psalms of David.


Zvi Malnovitzer has shown in 40 years of constant, hard creative work that art and piety are not necessarily antithetical.  Rather, with sufficient education and sensitivity in both worlds, the privacy and intensity of piety can be made accessible within an aesthetic, that sees honestly and tellingly of the very human narrative that constantly unfolds in the Haredi universe.  That is quite an accomplishment.


Richard McBee is a painter and writer on Jewish Art.  Please feel free to contact him with comments 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 “Piety And Art: Zvi Malnovitzer’s Paintings”

Comments are closed.

Current Top Story
Aqsa Mahmood, a nice Glasgow Muslim woman who turned jihadist and joined the ISIS.
Israeli Woman Arrested Trying to Join ISIS
Latest Sections Stories

Even when our prayers are ignored and troubles confront us, Rabbi Shoff teaches that it is the same God who sent the difficulties as who answered our prayers before.


I’ve put together some of the most frequently asked questions regarding bullies, friendship and learning disabilities.


His parents make it clear that they feel the right thing is for Avi to visit his grandfather, but they leave it up to him.

There is a rich Jewish history in this part of the world. Now the hidden customs are being revealed, as many seek to reconnect with their roots.

There are times when a psychiatrist will over-medicate, which is why it’s important to find a psychiatrist whom you trust and feel comfortable with.

On November 22, 1963, Abraham Zapruder created one of the most famous, and valuable, pieces of film and became forever linked with one of the greatest American national tragedies when he stood with his camera on an elevated concrete abutment as President John F. Kennedy’s motorcade passed through Dealey Plaza in Dallas. Exhibited here is […]

“Worrying is carrying tomorrow’s load with today’s strength – carrying two days at once. It is moving into tomorrow ahead of time. Worrying doesn’t empty tomorrow of its sorrow, it empties today of its strength.” – Corrie ten Boom I’ve been thinking a lot about worrying. Anxiety is an issue close to my heart – […]

Don’t be afraid to try something different.

Upon meeting the Zionist delegation, General Wu, a recent convert to Christianity, said, “You are my spiritual brothers.

With the assistance of Mr. Tress, Private Moskowitz tried tirelessly to become an army chaplain.

Dr. Yael Respler is taking a well-deserved vacation this week and asked Eilon Even-Esh to share some thoughts with her readers in her stead.

More Articles from Richard McBee
Jerusalem to Jericho Road: photograph by Chanan Getraide
“Chanan Getraide Photographs”: 2004 exhibition at Hebrew Union College Museum

“We are living in a Golden Age of Jewish Art, but don’t know it.”


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

“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.

Printed from: http://www.jewishpress.com/sections/piety-and-art-zvi-malnovitzers-paintings/2008/07/30/

Scan this QR code to visit this page online: