Art in Zion: The Genesis of National Art in Jewish Palestine by Dr Dalia Manor

By Dr Dalia Manor

Paintings in Zion deals with the hyperlink among paintings and nationwide ideology and in particular among the inventive job that emerged in Jewish Palestine within the first a long time of the 20 th century and the Zionist flow. with a view to learn the improvement of nationwide artwork in Jewish Palestine, the ebook specializes in direct and oblique expressions of Zionist ideology within the creative job within the yishuv (the Jewish neighborhood in Palestine). particularly, the e-book explores significant levels within the early improvement of Jewish paintings in Palestine: the task of the Bezalel tuition of paintings and Crafts, and the emergence in the course of the Nineteen Twenties of a gaggle of artists referred to as the Modernists.

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Additional info for Art in Zion: The Genesis of National Art in Jewish Palestine (Routledgecurzon Jewish Studies Series)

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26 Be this as it may, the works show a nostalgic look at his roots and perhaps reflect an attempt to re-define the Jewish element in his art. 1: Boris Schatz, Mattathias, the Hasmonean, 1894; photograph (original lost). Collection: Israel Museum, Jerusalem Schatz and Zionism Several years after he settled in Bulgaria, Schatz joined the Zionist movement. 27 Schatz’s involvement with the Zionist movement led him to his big project and, according to Ben-David, it was precisely his experience in Bulgaria that gave Schatz the impetus to establish Bezalel: Boris Schatz, founder of Bezalel 23 As one of the founders of the art school in Sofia he was always interested in the development of home industries for art in Bulgaria.

49 Clearly the interest of Ahad Ha-Am in Bezalel was limited but he could appreciate it as part of his own ideal of creating a Jewish spiritual centre in eretz yisrael. Lilien From its very beginning Bezalel enjoyed enormous publicity. The plans to open the school, its proposed programme and every detail of its first steps that were soon followed by photographs, were distributed in the Zionist press throughout the Jewish world. 1 A collection of newspaper cuttings on Bezalel kept in its archive2 shows how aware Boris Schatz was of the role of public relations in gaining moral and financial support and in creating a good image for posterity.

In its project programme12 aiming to provide their poor brothers in Jerusalem with the means to earn an honest living and break the hold of the haluka, the idea was no novelty. ’ emphasising the significance of Bezalel to employment in Jerusalem and particularly to the productivisation of the Jews. This episode also demonstrates how, in many respects, Bezalel was a continuation of previous projects in the city. The focus in the Bezalel programme on producing handicrafts for export or as souvenirs for tourists14 was also based on existing tradition.

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