A unique and prestigious residential project in now being built in Mekor Haim Street in Jerusalem.
Mark Podwal is a busy, busy man. He has spent the last 38 years making every conceivable kind of art: innumerable paintings, 28 illustrated books written by him and Elie Wiesel, Harold Bloom and Francine Prose, children’s books, haggadot, ceramics and graphic works. Dubbed the “Master of the True Line” by author Cynthia Ozick, his pro-Israel cartoons and drawings have been featured on the Op-Ed pages of the New York Times since 1972. Lately his passion for the Jewish community in Prague has expressed itself in a book, Built by Angels: The Story of the Old-New Synagogue and a documentary film House of Life: The Old Jewish Cemetery in Prague narrated by Claire Bloom. His art is found in the Metropolitan Museum of Art, Victoria and Albert Museum, Fogg Art Museum and Library of Congress. The Forum Gallery in New York has represented him since 1977. He also happens to be a Board certified Dermatologist. What is easily most remarkable about this breathless list of accomplishments is that his artwork has consistently focused on Jewish legend, history and tradition.
In one of his earliest Jewish works, Podwal used the words of the Prophet Jeremiah to illustrate Lamentations (1974) in a series of searing images delineating the tragedies of Jewish history that the prophet foretells. Podwal’s signature style is already evident; a powerfully simple line combines with acidic social commentary to bring an ancient text into contemporary consciousness. The frontispiece is a line drawing that copies the well-known Baroque arch and framing columns of countless copies of the Talmud and sacred texts. On the pediment “Echah” is inscribed with “Kinot for Tisha b’Av” in Hebrew in the empty archway. A lone noose hangs above the inscription, wrenching us from ancient history to modern day persecutions.
So too the verse “The adversary has spread out his hand upon all her treasures. For she has seen that the heathen have entered into her sanctuary.” (1:10) Podwal keeps us in the present, depicting two Nazi storm troopers marching off with the Temple menorah found on the Roman Arch of Titus. Similar in sentiment, but somehow more vicious, is the illustration from chapter 5:1-2 where we see the Roman Capitoline Wolf (symbol of the founding of Rome) staring defiantly at us and ironically crowned with a 18th century Polish Torah crown, grasping an ornate menorah in its savage teeth. For Podwal Rome continues to oppress well after its own demise.
And then there was “Schmuel the Shoemaker.” In You Never Know: A Legend of the Lamed-vavniks (1998), written by Francine Prose. The notion of holiness hidden in our midst is lovingly explored in this Eastern European Jewish tale. Podwal’s illustrations are uncharacteristically restrained. The hero is seen most poignantly as a humble man hidden in the purple of shadows, contemplating what the needs of his little town are. Nonetheless, this simple pious Jew who simply wished to help his fellow man saved his entire town from disaster. We are urged by his illustrations to reflect upon the subtle notion of how simple kindness can engender great blessings.
The legend of the king of the demons, Ashmedai, dominates the last quarter of the book with some of Podwal’s best images propelling the story. The wicked Ashmedai is seen as a grumpy gremlin, adorned with enormous bat wings and little white horns. After he steals the king’s ring and therefore his power, we see him transformed as a look-alike King Shlomo and the real king reduced to wandering the world as an impoverished vagrant. Even though he finally regains his magic ring and his rightful throne, the king is chastened, filled with a new kind of wisdom.
Richard McBee is a painter and writer on Jewish Art. Contact him at email@example.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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The plan’s goal is to provide supportive housing to 200 individuals with disabilities by the year 2020.
Despite being one of the fastest-growing Jewish communities in the U.S. – the estimated Jewish population is 70-80,000 – Las Vegas has long been overlooked by much of the Torah world.
She was followed by the shadows of the Six Million, by the ever so subtle awareness of their vanished presence.
Pesach is so liberating (if you excuse the expression). It’s the only time I can eat anywhere in the house, guilt free! Matzah in bed!
Now all the pain, fear and struggle were over and they were home. Yuli was safe and free, a hero returned to his land and people.
While it would seem from his question that he is being chuzpadik and dismissive, I wonder if its possible, if just maybe, he is a struggling, confused neshama who actually wants to come back to the fold.
I agree with the letter writer that a shadchan should respectfully and graciously accept a negative response to a shidduch offer.
Alternative assessments are an extremely important part of understanding what students know beyond the scope of tests and quizzes.
Your husband seems to have experienced what we have described as the Ambivalent Attachment.
The goal of the crusade is to demonize and hurt Israel.
The JUMP program at Hebrew Academy was generously sponsored by Evelyn and Dr. Shmuel Katz.
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).
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.
It is a rare season indeed when two major auction houses show not only resplendent offerings of Judaica, but also multiple examples of highly unusual and rare Jewish-themed fine art. That is indeed the case now both at Sotheby’s December 19th auction and the Bonhams recent December 10th auction.
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.
Printed from: http://www.jewishpress.com/sections/podwals-books-2/2010/09/07/
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