Because there were only a few authentic instances of visual documentation of events until the war's later stages, artists both used traditional imagery and invented new kinds of imagery to record their responses to the catastrophe taking place. Unfortunately, New York City's Jewish intelligentsia seemed to offer little support, and art critics such as Clement Greenberg largely avoided the issue. Jewish artists were left to cope with the events of the war in isolation, without a collective visual memory to deal with the traumas presented by news reporters." "Artists featured include Marc Chagall, Jacques Lipchitz, Barnett Newman, Abraham Rattner, Mark Rothko, and Max Weber."--Jacket.
This book explores the important and barely examined connections between the humanitarian concerns embedded in the religious heritage of Jewish American artists and the appeal of radical political causes between the years of the Great Migration from Eastern Europe in the 1880s and the beginning of World War II in the late 1930s. Visual material consists primarily of political cartoons published in leftwing Yiddish- and English-language newspapers and magazines. Artists often commented on current events using biblical and other Jewish references, meaning that whatever were their political concerns, their Jewish heritage was ever present. By the late 1940s, the obvious ties between political interests and religious concerns largely disappeared. The text, set against events of the times—the Russian Revolution, the Depression and the rise of fascism during the 1930s as well as life on New York's Lower East Side—includes artists' statements as well as the thoughts of religious, literary, and political figures ranging from Marx to Trotsky to newspaper editor Abraham Cahan to contemporary art critics including Meyer Schapiro.
From the 1870s to the 1930s, American cartoonists devoted much of their ink to outlandish caricatures of immigrants and minority groups, making explicit the derogatory stereotypes that circulated at the time. Members of ethnic groups were depicted as fools, connivers, thieves, and individuals hardly fit for American citizenship, but Jews were especially singled out with visual and verbal abuse. In The Implacable Urge to Defame, Baigell examines more than sixty published cartoons from humor magazines such as Judge, Puck, and Life and considers the climate of opinion that allowed such cartoons to be published. In doing so, he traces their impact on the emergence of anti-Semitism in the American Scene movement in the 1920s and 1930s.
Born over a fifty-year period, the artists in this volume represent several generations of twentieth-century artists. Examining the work of such influential artists as Mark Rothko, Max Weber, and Ruth Weisberg, Baigell directly confronts their Jewish identity—as a religious, cultural, and psychological component of their lives—and explores the way in which this influence is reflected in their art. Drawing upon their common heritage, Baigell reveals the different ways these artists responded to the Great Immigration, the Depression, the Holocaust, the founding of the state of Israel, and the rise of feminism. Each artist’s varied Jewish experiences have contributed to the creation of a visual language and subject matter that reflect both Jewish assimilation and Jewish continuity in ways that inform modern Jewish history and changes in present-day America. Offering a fresh examination of well-known artists as well as long overdue attention to lesser-known artists, Baigell’s incisive observations are indispensable to our understanding of the Jewish themes in these artists' work. Written in a lively and spirited prose, this book is compulsory reading for those interested in modern American art and Jewish studies.
Is there a Jewish art? Is there a single "Jewish experience"? Matthew Baigell, the acknowledged American expert on Jewish art, offers the first book ever on the history of Jewish American art from the early settlements to the present.
Jewish themes in American art were not very visible until the last two decades, although many famous twentieth-century artists and critics were and are Jewish. Few artists responded openly to the Holocaust until the 1960s, when it finally began to act as a galvanizing force, allowing Jewish-American artists to express their Jewish identity in their work. Baigell describes how artists initially deflected their responses into abstract forms or by invoking biblical and traditional figures and then in more recent decades confronted directly Holocaust imagery and memory. He traces the development of artistic work from the late 1930s to the present in a moving study of a long overlooked topic in the history of American art.
How do women artists in Russia, Estonia and Latvia view themselves in the post-Soviet era? What is their relationship to feminism and how has that relationship changed following the fall of the Soviet regime? Having conducted over 60 interviews between 1995 and 1998, Renee and Matthew Baigell explore in this volume these women's difficulties of pursuing an art career in a male-dominated society, and the attitudes of their male counterparts toward feminist concerns.
Unlike earlier generations, Jewish American artists born between the 1930s and the early 1960s were among the first to overtly embrace and challenge religious themes in their work. These Jewish artists felt comfortable as assimilated Americans yet developed an overwhelming desire to explore their cultural and religious heritage. They became the first generation willing to take risks with their material and to discover new ways to create art with Jewish religious content. In his most recent book, Baigell explores the art and influences of eleven artists who enlarged the parameters of Jewish American art through their varied approaches to subject matter, to feminist concerns, and to finding contemporary relevance in the ancient texts. Along with detailed essays on each artist, the book includes nearly one hundred stunning illustrations that testify to the beauty, depth, and importance of the paintings and sculptures produced by this groundbreaking generation of artists.
Alphabetically arranged and crossreferenced entries provide background information on major American painters, sculptors, printmakers, and photographers, plus important topics and movements central to American art from the sixteenth century to the present.
. . . from expected death comes unexpected new life!" The Gospel of Matthew does not shy away from the realities of struggle, suffering, doubt, and death. Yet, from the first names in the genealogy to the last words spoken by Jesus, the Gospel testifies to the promise that from expected death comes unexpected new life. Through the actions of Tamar, Rahab, Ruth, and Bathsheba, we experience the expectation of death and the promise of unexpected new life. In the birth story of Jesus, Joseph suspects Mary of committing adultery. It is this dilemma that is the focus of the narrative. If he reveals her pregnancy, she could be killed. If he conceals her pregnancy, he will be going against the law of the Lord. What is a righteous man to do? In Joseph's dilemma, this experience of expected death, the Gospel of Matthew proclaims the promise of unexpected new life. The promise of unexpected new life is a theme that continues throughout Matthew's Gospel in the life and ministry of Jesus. The call of his disciples is a call from death to new life. The teaching of Jesus focuses on the experience of death and the promise of new life. In both healing and curing, Jesus brings unexpected new life to those who face death. But it is the death and resurrection of Jesus that is the climax of unexpected new life in the Gospel of Matthew. Even as Jesus experiences a most horrific and humiliating death in the crucifixion, death and the grave do not have the final say. In bearing witness to Jesus' resurrection, the Gospel of Matthew proclaims the magnificent promise of unexpected new life. Matthew J. Marohl invites you in these pages to read the Gospel of Matthew in a new way, from a fresh perspective. Integrating insights from the study of Mediterranean anthropology, Marohl makes the cultural world of the Gospel come alive, so that as you read Matthew again (or perhaps for the first time) you will certainly experience the powerful promise that from expected death comes unexpected new life!
Explore the tenderness and the tensions in the teachings of Jesus. The Gospel of Matthew portrays Jesus and his message as full of tender compassion and urgent warning. This six-part exploration of an enigmatic Gospel takes readers into the themes, topics, and tensions at the heart of Matthew's story about the life and work of Jesus. Chapters focus on blessing and comfort, judgment and retribution, the meaning of discipleship, Jesus’ vision for the Church and world, conflicts and complaints, and how the Gospel of Matthew speaks to believers today. The book can be read alone or used by small groups anytime throughout the year. Components include video teaching sessions featuring Matthew Skinner and a comprehensive Leader Guide.
Matthew’s Gospel makes mention of prophets and prophecy more than any other canonical Gospel. Yet its perspective on prophecy has generally been neglected within biblical scholarship when, in fact, Jesus’ prophetic vocation is a central christological theme for Matthew. This new study by Matthew Anslow seeks to draw attention to this underdeveloped focus within Matthean studies. The central claim of the book is that in Matthew’s Gospel, Jesus’ prophetic vocation is presented as a multi-faceted phenomenon, drawing on several prophetic traditions. Like biblical and popular prophets before him, Jesus is depicted by Matthew as calling Israel back to covenantal faithfulness, thereby providing guidance for the identity, theology, and communal life of God’s people.
This is another volume in the series of Bible Commentaries of Matthew Henry. In this Volume, the entire text of the Gospel of Matthew is commented with notes of each chapter. This Commentary will help you better understand the God's word! Churches, theological seminaries and Bible schools will find an excellent aid in this biblical commentary on the Gospel of Matthew.
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