The Pioneers of The Spirit
Written By: Dr. I. Sapir
[Doctor I. Sapir, the author of the following Essay, is a practicing physician; he is a well known essayist and publicist. For many years he was the head of The National Fund. He is now a resident of Palestine.]
Palestine gave us a most remarkable galaxy of types; they are like those so genially described by Ibsen, in the drama “Dr. Stockman.” These types interest me for two reasons: first, because of the lofty ideas whose bearers they are; and, secondly, because of the abiding faith in the ideals, the strong will, and the powerful characters which they exhibited during the course of many years. In the many years that I have been working for the cause of Erez Isroel, I had occasion to meet a substantial number of such pioneers of the spirit, I watched with love and sympathy their endless struggles which were not always successful.
At the very beginning of the history of our colonization we encounter several such personalities; the foremost among them is Eliezer Ben Yehudah. Somewhat later, Professor Schatz appears on the scene; and very recent, Galinkin came. Each of them represents a whole spiritual world. Ben Yehudah brought with him the idea of the revival of the Hebrew language; Professor Schatz, the renaissance of art; and Galinkin, the Hebrew theater.
They all possess certain traits in common, they abide by one fate. Because of the lofty ideals which are theirs, they all threw themselves into the struggle, they submitted to a fife of misery and privation. They suffered much; and not infrequent they fell under their burdensome lots, soon to rise again; and with greater persistence to pursue their course, until they would reach the goal. Their personal fate in general is solitude.
I am now settled in Palestine, I have had the opportunity to convince myself with my own eyes what has been accomplished as a result of their efforts; I therefore deem it as a duty of recognition to dedicate to them the following lines. I shall first begin with Professor Schatz, whose activities I have been following with the keenest interest for almost twenty years.
To properly understand Prof. Schatz, one has to read his autobiography, contained in the pamphlet “Bezalel” which I published fifteen years ago. In that short sketch Schatz relates the interesting story that when he was still a young school boy he listened to a Maggid, on a late Saturday afternoon, during the twilight hour; he was so deeply impressed that immediately after he formed a strong resolution to go to Palestine and with paint and palette he would bring joy to the hearts of his people by producing on canvas the “Wailing Wall” and “Rachel’s Grave.” Many years later Schatz is in Paris developing his artistic talents under the Master M. Antokolsky. Here too Schatz is dreaming; he has a vision of establishing in Jerusalem a center of art. A few years passed, and the dreams of Schatz assume concrete national form; now he dreams of the possibility to establish in Palestine an art industry for the purpose to create Jewish style and to cultivate a refined Jewish aesthetic taste. With the years the dreams became loftier and more sublime; his imaginations lead him to dream of an art center in Jerusalem, where the best Jewish artists who have something new to say in the world of art would congregate from all over the world. From his earliest childhood Schatz was a dreamer and he still lives in the realm of dreams. On conversing with him, one will soon feel that Schatz is dreaming of something beautiful and lofty, which has little in common with the realities of life. Like under a bewitching spell Schatz leads his companions to a world of wonderful stories; and one is reminded of the words of the Russian poet Lermantov:
“And the lofty heavenly sounds cannot be exchanged With the languorous songs of the depressed earth.” That which Schatz produced in the twenty years that have passed, compares little with what he dreamed to produce. Yet Schatz is not deceived, he folds not his arms in despair. The world around him fails to understand him—so much the worse for the world! “We shall continue to work, struggle and wake the people, eventually we will accomplish our object.” Schatz’s faith is not confined to his ideals only; he has faith in mankind as well; he believes that in the course of time he is bound to be understood, a proper estimate will be placed on his efforts and his labors; then the necessary support will be forthcoming, the burden will be lifted from his shoulders, then the temple of art of which he was dreaming these many years will be erected in Jerusalem.
Schatz has one devoted companion, one real friend—his optimism.
Of late Schatz became gray, his health is not the best; and his material conditions are not perfectly sound, yet he is as tireless and as industrious as he was fifteen and even twenty years ago, when I used to meet him on the Congresses and at art exhibits. Now as then, he is prone to take hold of the first man who will come his way, and like a devoted partisan he will continue to argue in favor of the ideas that are so dear to him: Jewish art and “Bezalel.” Unfortunately there are very few who care to listen to him on that subject; and there are still fewer who understand him and who are willing to help him.
Any other man in his place would be despondent; he would have closed himself up in his own shell, or more correctly, in his own workshop, and would paint and sculpture the present day heroes; this would give him a splendid income, to enable him to live a life of luxury, peace and contentment. Professor Schatz is a real pioneer of the spirit; he was destined to be a bearer of ideas and fight for their realization and he stands by his banner. Although he is in a precarious physical condition, he works sixteen hours out of every twenty-four, he gives all his time that he may rescue his favorite child, the Bezalel school of arts, for which he sacrificed so much nerve and heart.
It may be best to tell the whole truth: Bezalel is on the verge of a collapse. This year marks the twentieth anniversary of its birth; may God forbid, it may culminate in marking the date of its first memorial, as well, if the Jewry of the world, and particularly American Jewry, will not come to its rescue, if they should fail to support the crumbling walls of this magnificent institution.
Bezalel’s downfall is due to the following causes: it is pursuing a policy which is based on art for art’s sake, it has no materialistic motives; all who are interested in the slightest degree in the work of Palestine are familiar with the needs and demands of the colonies, of the bank and of the cooperatives; in short, of all the institutions that tend to answer the physical needs, to quiet hunger, but very few are interested in questions of art. It is here where the danger lies, not only for Bezalel, but also for the Hebrew theater; and even for literature. It ought to be clear that to revive the Jewish people in Palestine, must mean a revival in the fullest sense of the word; in the economic, national cultural and spiritual; it is in that manner only that nations reawaken to a new life. Together with the agrarian reforms and labor laws, they develop activities along the lines of culture; they open schools, academies and museums. For a concrete example we have the Soviet Russia; to consider Russia from the purely historic materialism, it would seem that the legislative bodies ought to devote themselves exclusively to economic questions, and to ignore completely questions of esthetics and problems of art. It appears to be just the reverse, Russia established hundreds of ateliers and opened art schools to develop art and to create good taste and love for art among the common people. All museums are now carefully watched and guarded against vandals and thieves.
A renaissance in Palestine should have for its purpose the awakening of the feelings and love for the beautiful and for the development of a national style. A people which gave to the world such men as Antokolsky, Israels, Schatz, Lieberman and Hirschberg, and many other artists of fame, shall not abandon this spiritual field.
Even if we omit entirely the question of pure art, and we only bear In mind the rebuilding of our land; Bezalel must still hold our attention. It was Bezalel that undertook the task to create an art industry in Palestine, which in itself borders on the economic. The making of rugs, filigree work, the work of the various objects necessary for art, such as ivory, brass, bronze and wood, gave employment to thousands of people and it provided them with an income sufficient to maintain themselves. Why shall we not employ in this sort of industry Chalutzes (feminine pioneers), who for lack of employment in the colonies and in the towns, are compelled to become common servants in the hotels? I was much distressed when I found a young woman with a college education as a servant in a hotel, in Tel-Aviv. Was this her aim when she yearned to go to Palestine?
What about the hundreds of young women who are employed in the building trades? And those who are building roads and are carrying heavy stones? Would it not be more practical and more human to make it possible for them to work in art industries? It is well known that the Cholutzes leave town because the work they are compelled to do in town is beyond their strength and it causes sickness; quite often they lose the ability of becoming mothers; they degenerate.
Whether from the economic or the political point of view, such branches of industry should be developed and encouraged in Palestine that it may provide light employment for women; and what industry could be more desirable for such purpose than the making of rugs and kindred employments such as is furnished by Bezalel?
Now is the time to place Bezalel on the agenda, when wide perspectives for colonization are being opened; if not for the artistic and cultural reasons, then for the reason to solve the important problem: where to place the thousands of Choultzes; and perhaps some of the Chalutzim, too; we have in mind those who are not fit for hard labor and yet they are anxious to participate in the building of our country. Thousands of young men recently arrived to Palestine, they went in for hard labor, such as building roads and drenching swamps; they could be of greater usefulness and more benefit to the country and the people if their energies would be used in art industries.
Professor Schatz took upon himself this national problem when he first came to Palestine and he built the foundation of Bezalel. His best years he gave up to these ideals. There are very few who understood him, and still fewer who can estimate his share in the renaissance of our people. Even those to whom the subject of art is foreign, must recognize that Professor Schatz created a new Jewish style in art; and he is the founder of a whole line of industries which carried the reputation of a Jewish Palestine all over the world; and it provided thousands of Jews with a livelihood.
Disregarding his delicate health, defying the unseasonable weather for a long voyage, Professor Schatz went to America, to remind the American Jews of their duty to Bezalel. I am confident they will do their share, they will create a fund sufficient to secure the future existence of the beautiful institution Bezalel.
The Pioneers of The Spirit
Written By: Dr. I. Sapir
[Doctor I. Sapir, the author of the following Essay, is a practicing physician; he is a well known essayist and publicist. For many years he was the head of The National Fund. He is now a resident of Palestine.]
Palestine gave us a most remarkable galaxy of types; they are like those so genially described by Ibsen, in the drama “Dr. Stockman.” These types interest me for two reasons: first, because of the lofty ideas whose bearers they are; and, secondly, because of the abiding faith in the ideals, the strong will, and the powerful characters which they exhibited during the course of many years. In the many years that I have been working for the cause of Erez Isroel, I had occasion to meet a substantial number of such pioneers of the spirit, I watched with love and sympathy their endless struggles which were not always successful.
At the very beginning of the history of our colonization we encounter several such personalities; the foremost among them is Eliezer Ben Yehudah. Somewhat later, Professor Schatz appears on the scene; and very recent, Galinkin came. Each of them represents a whole spiritual world. Ben Yehudah brought with him the idea of the revival of the Hebrew language; Professor Schatz, the renaissance of art; and Galinkin, the Hebrew theater.
They all possess certain traits in common, they abide by one fate. Because of the lofty ideals which are theirs, they all threw themselves into the struggle, they submitted to a fife of misery and privation. They suffered much; and not infrequent they fell under their burdensome lots, soon to rise again; and with greater persistence to pursue their course, until they would reach the goal. Their personal fate in general is solitude.
I am now settled in Palestine, I have had the opportunity to convince myself with my own eyes what has been accomplished as a result of their efforts; I therefore deem it as a duty of recognition to dedicate to them the following lines. I shall first begin with Professor Schatz, whose activities I have been following with the keenest interest for almost twenty years.
To properly understand Prof. Schatz, one has to read his autobiography, contained in the pamphlet “Bezalel” which I published fifteen years ago. In that short sketch Schatz relates the interesting story that when he was still a young school boy he listened to a Maggid, on a late Saturday afternoon, during the twilight hour; he was so deeply impressed that immediately after he formed a strong resolution to go to Palestine and with paint and palette he would bring joy to the hearts of his people by producing on canvas the “Wailing Wall” and “Rachel’s Grave.” Many years later Schatz is in Paris developing his artistic talents under the Master M. Antokolsky. Here too Schatz is dreaming; he has a vision of establishing in Jerusalem a center of art. A few years passed, and the dreams of Schatz assume concrete national form; now he dreams of the possibility to establish in Palestine an art industry for the purpose to create Jewish style and to cultivate a refined Jewish aesthetic taste. With the years the dreams became loftier and more sublime; his imaginations lead him to dream of an art center in Jerusalem, where the best Jewish artists who have something new to say in the world of art would congregate from all over the world. From his earliest childhood Schatz was a dreamer and he still lives in the realm of dreams. On conversing with him, one will soon feel that Schatz is dreaming of something beautiful and lofty, which has little in common with the realities of life. Like under a bewitching spell Schatz leads his companions to a world of wonderful stories; and one is reminded of the words of the Russian poet Lermantov:
“And the lofty heavenly sounds cannot be exchanged With the languorous songs of the depressed earth.” That which Schatz produced in the twenty years that have passed, compares little with what he dreamed to produce. Yet Schatz is not deceived, he folds not his arms in despair. The world around him fails to understand him—so much the worse for the world! “We shall continue to work, struggle and wake the people, eventually we will accomplish our object.” Schatz’s faith is not confined to his ideals only; he has faith in mankind as well; he believes that in the course of time he is bound to be understood, a proper estimate will be placed on his efforts and his labors; then the necessary support will be forthcoming, the burden will be lifted from his shoulders, then the temple of art of which he was dreaming these many years will be erected in Jerusalem.
Schatz has one devoted companion, one real friend—his optimism.
Of late Schatz became gray, his health is not the best; and his material conditions are not perfectly sound, yet he is as tireless and as industrious as he was fifteen and even twenty years ago, when I used to meet him on the Congresses and at art exhibits. Now as then, he is prone to take hold of the first man who will come his way, and like a devoted partisan he will continue to argue in favor of the ideas that are so dear to him: Jewish art and “Bezalel.” Unfortunately there are very few who care to listen to him on that subject; and there are still fewer who understand him and who are willing to help him.
Any other man in his place would be despondent; he would have closed himself up in his own shell, or more correctly, in his own workshop, and would paint and sculpture the present day heroes; this would give him a splendid income, to enable him to live a life of luxury, peace and contentment. Professor Schatz is a real pioneer of the spirit; he was destined to be a bearer of ideas and fight for their realization and he stands by his banner. Although he is in a precarious physical condition, he works sixteen hours out of every twenty-four, he gives all his time that he may rescue his favorite child, the Bezalel school of arts, for which he sacrificed so much nerve and heart.
It may be best to tell the whole truth: Bezalel is on the verge of a collapse. This year marks the twentieth anniversary of its birth; may God forbid, it may culminate in marking the date of its first memorial, as well, if the Jewry of the world, and particularly American Jewry, will not come to its rescue, if they should fail to support the crumbling walls of this magnificent institution.
Bezalel’s downfall is due to the following causes: it is pursuing a policy which is based on art for art’s sake, it has no materialistic motives; all who are interested in the slightest degree in the work of Palestine are familiar with the needs and demands of the colonies, of the bank and of the cooperatives; in short, of all the institutions that tend to answer the physical needs, to quiet hunger, but very few are interested in questions of art. It is here where the danger lies, not only for Bezalel, but also for the Hebrew theater; and even for literature. It ought to be clear that to revive the Jewish people in Palestine, must mean a revival in the fullest sense of the word; in the economic, national cultural and spiritual; it is in that manner only that nations reawaken to a new life. Together with the agrarian reforms and labor laws, they develop activities along the lines of culture; they open schools, academies and museums. For a concrete example we have the Soviet Russia; to consider Russia from the purely historic materialism, it would seem that the legislative bodies ought to devote themselves exclusively to economic questions, and to ignore completely questions of esthetics and problems of art. It appears to be just the reverse, Russia established hundreds of ateliers and opened art schools to develop art and to create good taste and love for art among the common people. All museums are now carefully watched and guarded against vandals and thieves.
A renaissance in Palestine should have for its purpose the awakening of the feelings and love for the beautiful and for the development of a national style. A people which gave to the world such men as Antokolsky, Israels, Schatz, Lieberman and Hirschberg, and many other artists of fame, shall not abandon this spiritual field.
Even if we omit entirely the question of pure art, and we only bear In mind the rebuilding of our land; Bezalel must still hold our attention. It was Bezalel that undertook the task to create an art industry in Palestine, which in itself borders on the economic. The making of rugs, filigree work, the work of the various objects necessary for art, such as ivory, brass, bronze and wood, gave employment to thousands of people and it provided them with an income sufficient to maintain themselves. Why shall we not employ in this sort of industry Chalutzes (feminine pioneers), who for lack of employment in the colonies and in the towns, are compelled to become common servants in the hotels? I was much distressed when I found a young woman with a college education as a servant in a hotel, in Tel-Aviv. Was this her aim when she yearned to go to Palestine?
What about the hundreds of young women who are employed in the building trades? And those who are building roads and are carrying heavy stones? Would it not be more practical and more human to make it possible for them to work in art industries? It is well known that the Cholutzes leave town because the work they are compelled to do in town is beyond their strength and it causes sickness; quite often they lose the ability of becoming mothers; they degenerate.
Whether from the economic or the political point of view, such branches of industry should be developed and encouraged in Palestine that it may provide light employment for women; and what industry could be more desirable for such purpose than the making of rugs and kindred employments such as is furnished by Bezalel?
Now is the time to place Bezalel on the agenda, when wide perspectives for colonization are being opened; if not for the artistic and cultural reasons, then for the reason to solve the important problem: where to place the thousands of Choultzes; and perhaps some of the Chalutzim, too; we have in mind those who are not fit for hard labor and yet they are anxious to participate in the building of our country. Thousands of young men recently arrived to Palestine, they went in for hard labor, such as building roads and drenching swamps; they could be of greater usefulness and more benefit to the country and the people if their energies would be used in art industries.
Professor Schatz took upon himself this national problem when he first came to Palestine and he built the foundation of Bezalel. His best years he gave up to these ideals. There are very few who understood him, and still fewer who can estimate his share in the renaissance of our people. Even those to whom the subject of art is foreign, must recognize that Professor Schatz created a new Jewish style in art; and he is the founder of a whole line of industries which carried the reputation of a Jewish Palestine all over the world; and it provided thousands of Jews with a livelihood.
Disregarding his delicate health, defying the unseasonable weather for a long voyage, Professor Schatz went to America, to remind the American Jews of their duty to Bezalel. I am confident they will do their share, they will create a fund sufficient to secure the future existence of the beautiful institution Bezalel.