By Tom Sandqvist
This survey asks a doubtless basic query: Is there an affinity among the emergence of contemporary artwork and numerous Avant-Garde activities similar to Russian Suprematism and varnish or Hungarian Constructivism round concerning the flip of the final century and the method of Jewish assimilation within the Habsburg empire and Russian tsardom respectively? What in regards to the attainable connection among «Hebraism», Jewish Messianism, Talmudic philosophy, and Kabbalistic speculations and the main radical, Utopian Avant-Garde routine of the zone? used to be Russian Cubo-Futurism, Suprematism, Productivism, Polish and Hungarian Constructivism truly fostered via rules and practices articulated in japanese Jewry? And what used to be the impression of Anti-Semitism on how the artists with regards to stylistic purity and their very own cultural identification within the sector already ahead of the emergence of Avant-Gardism? and the way did the intended biblical ban on «graven images» effect the process of the Jewish artists?
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Extra resources for Ahasuerus at the Easel: Jewish Art and Jewish Artists in Central and Eastern European Modernism at the Turn of the Last Century
For centuries and centuries, despite all disasters, the Messianic dream of an ideal city, where there shall be neither rich nor poor, and where perfect justice and equality shall reign, has never ceased to haunt the Jewish imagination. , p. 190. 34 III. Jewish Art Jewish Art – Is There Any at All? Indeed, is there something which might be defined as a specific Jewish art at all, preferably with the adjective Jewish not surrounded by quotes? In any case we may accept that it’s difficult to compare the term Jewish art with terms such as “Islamic art” or “Christian art”, since two two latter ones are classified only on the basis of the religious affiliation which they are supposed to manifest, while the adjective Jewish must be characterized as much more multidimensional.
How is the essence of the Jewish spirit presented? This question seems also to legitimize the concept of hanging the exhibition itself, as Nossig without any particular thematic principle mixed works by artists belonging to a passed era with works by artists who were defined as contemporary, though without any ot them able to be characterized as “modern” in an Avant-Gardist sense, artists like Moritz Oppenheim, Camille Pissarro, and the Polish 19th-century artist Maurycy Gottlieb together with artists such as Lesser Ury, Josef Israël, Isidor Kaufmann, Maurycy Minkowski, Samuel Hirszenberg, Alphonse Lévy, Benno Becker, and Jacques Hast.
31 Nicholas Mirzoeff: “Inside/Out: Jewishness Imagines Emancipation”. TumarkinGoodman 2001, p. 46–47. 31 word “unheimlich” is the opposite of “heimlich” or “heimich”, we are tempted to draw the conclusion that the uncanny or the anxiety-ridden is frightening just because it seems to be connected to the unknown, something that we don’t know, Freud says arriving eventually – with the help of Friedrich Schiller – to both an interesting and binding meaning claiming something totally different, that is, that that which is experienced as uncanny – frightening – is in fact everything which should have been secret, hidden, but which actually has come to light.