In Israel, a new five month scholarship program being offered to young aspiring athletes – one of them could be you.
Although each element of a painting – from materials to tools – is finite, paintings are infinite things for which we use terms like “canonic,” “High Art” and “spiritual.” But art is, in effect, a commodity. However ornate one considers a sculpture, it is someone’s property. Whatever beautiful brushwork a painting might boast, it is a tangible thing – crafted of wood, canvas and paints made from the earth. Indeed, the temptation to attribute to art transcendent properties – a practice as old as art itself – turns it into essentially the kind of idolatrous decadence about which the Second Commandment warns us.
It should come as no surprise, then, that disputes about ownership of paintings often erupt. The general public can usually expect to be reminded that paintings are property only when someone tries to vandalize the art (as when a student stuck gum to a Frankenthaler painting in Detroit several months ago), when a painting brings a large sum at auction, or when it is stolen; in short, when it makes news. Recently, a group of paintings by Austrian (non-Jewish) painter Gustav Klimt (1862-1918) has made the news by qualifying for the last two media-grabbing explanations. One of the paintings from a group stolen from Jewish owners by the Nazis recently sold for a record $135 million to the Neue Galerie in New York.
Klimt’s painting, titled “Bloch-Bauer l” (1907), is being hailed as an Austrian “Mona Lisa” of sorts. Ronald Lauder, president and co-founder of the Neue Galerie, called it “a once in a lifetime acquisition, and a defining moment for the Neue Galerie,” even suggesting that the portrait was “one of [Klimt's] greatest works of art. We are overjoyed to be able to give Adele Bloch-Bauer a permanent home at the Neue Galerie. Her presence will enrich the museum immeasurably.” Renée Price, who directs the gallery, stopped just short of calling the painting as important as “Mona Lisa,” focusing instead on its significance to the museum’s collection. “This painting is as important to the Neue Galerie as the Mona Lisa is to the Louvre.”
“Bloch-Bauer” rose to publicity for similar reasons. Adele Bloch-Bauer, the Jewish wife of Ferdinand Bloch-Bauer, the wealthy Jewish sugar merchant, was the only woman Klimt painted twice in a full-length pose. Like discussions surrounding da Vinci and Mona Lisa, many speculate (these are only rumors) that Klimt and Bloch-Bauer had a secret liaison. The proponents of this theory point to the “numerous open-eye and almond shapes in the painting”, “the great tenderness” with which the painting is rendered, and the manner in which Bloch-Bauer “is ennobled by her regal setting”.
But for our purposes, the real question surrounding Bloch-Bauer’s portrait concerns whether it is a work of art. I see this column as an opportunity to raise readers’ awareness about art that they might not otherwise encounter in their day-to-day lives, and to address those works in a language that is relevant to all Jews and art admirers. I do not see this column as a platform from which to attack other art critics’ columns.
However, a recent column by chief New York Times art critic Michael Kimmelman is particularly worthy of discussion. Under the title, “Klimts Go To Market; Museums Hold Their Breath” (9/19/06), Kimmelman asks some very provocative questions about what it means to own a painting and to potentially reclaim it. “How sad – if unsurprising – to hear that the heirs of Ferdinand and Adele Bloch-Bauer are indeed cashing in, as planned, and selling four Klimts at Christie’s in November,” Kimmelman begins. “A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.”
I do not know if Kimmelman is a Jew, and frankly it does not matter one stitch. He is one of my favorite art critics to read, and he almost always comments on art in a manner that is creative and insightful, if not downright brilliant. In this column, he wonders, “Wouldn’t it have been remarkable (I’m just dreaming here) if the heirs had decided instead to donate one or more of the paintings to a public institution? Or, failing that, to negotiate a private sale to a museum at a price below the auction house estimates of $15 million to $60 million?”
He concludes the column: “How refreshing this story would have been had the Bloch-Bauers conceived a way to ensure that that birch landscape, say, ended up in public hands. In so doing, they would have earned not just public sympathy for their family’s struggle but also an enduring share of public gratitude. They would have underscored the righteousness of their battle for restitution and in the process made clear that art, even in these money-mad days, isn’t only about money. Heck, they would even have gotten a tax break.”
The pieces, currently on view at the Neue Galerie, should be viewed. Two paintings show Adele Bloch-Bauer, while the other three show a birch forest, an apple tree and houses at Unterach on the Attersee. I am not sure that I agree that the Klimt paintings are more worthy of inspection than the Kokoschka and Schiele paintings in the previous room at the gallery. But I think Jewish art lovers should see the work and be seen at the Neue Galerie.
Kimmelman is right, in a sense, that “art should be art” and that we should try to commodify it as little as possible. The people I spoke with who tell me that they want to get every penny they can back from the Holocaust settlements are right, as are the ones who tell me they want no “blood money” back. The interesting point here, though, is the invasion of politics and law into the museum and, cast in that light, the paintings look eerily different.
In the Neue Galerie, which now houses the most highly priced painting ever sold, Klimt’s use of gold and silver in his portraits of Adele Bloch-Bauer lends them a Midas-like touch. Compositions that otherwise may have been seen as triangles and circles are difficult to perceive as anything but curvaceous dollar signs. Perhaps Adele Bloch-Bauer seems firmer in her poses because of the stubbornness of her niece, who fought to win back her family’s legacy. But she also seems apologetic for the whole commotion. However, the story of these paintings is anything but a clear-cut one. They are simultaneously private and public, a source of pride and pain while beautiful and grossly ugly.
Menachem Wecker is a painter and assistant editor of B’nai B’rith Magazine in Washington, D.C. He welcomes comments email@example.com
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
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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.
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Red By John Logan; directed by Robert Falls; starring Edward Gero and Patrick Andrews Jan. 20 – March 11, 2012 Arena Stage, 1101 6th Street, SW, Washington, D.C. http://www.arenastage.org One morning, Ken, Mark Rothko’s studio assistant, comes into the studio to fulfill his daily duties of stretching and priming his employer’s canvases. When he [...]
Printed from: http://www.jewishpress.com/sections/should-looted-art-from-the-holoucast-be-returned-a-response-to-michael-kimmelman/2006/10/18/
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