To The Bezalel Exhibit of New York
Written By: Saul Raskin
Between two mountains standing opposite each other lies scattered the old city of Jerusalem. On the summit of one of the mountains the first Hebrew University is being built; on the height of the other mountain has been standing for the past twenty years the buildings of “Bezalel,” the first Jewish art school.
For the past two decades, Professor Schatz, the founder of Bezalel, with a group of devoted instructors, a large number of pupils and still larger number of craftsmen, have endeavored to bring forth from the hidden corners of the Jewish soul something that would dazzle our eyes and gladden our hearts, they have been engaged in creating an art which would be distinctively our own; our own, with all its qualities and all its defects; our own, just as we ourselves have been created by God.
It is an arduous task! A self created and self developed style in the art of a people is a result of generations upon generations and their collective energies. The people, their environment, the skies above their heads, the earth beneath their feet, the outlines of the mountains, all the plants and all the animal life must all melt and fuse together with the nerves and blood of the people, all these will give birth to a national art.
Twenty years is too short a time, and a handful of people in Palestine cannot be regarded as the collective energy of the Jewish people.
To expect of Bezalel a complete, ready and worked out Jewish art, would be unjust; and yet, the roads are marked and the foundation is already laid; the things that have already been accomplished fill our hearts with hope and pride. The “how” and “where” and “when” have been pointed out to us; the flower we call “Jewish art” is in the process of blossoming and soon it will spread out its fragrant petals, if—if we shall only WILL it.
With these words came to us the founder of Bezalel, he brought with him some of his works of art, they serve as evidence to substantiate his words. He could have brought many more witnesses, much more of his arts to prove his words, if not for the Wemby exhibition in London, where a part of Bezalel is now sheltered. A part is also on exhibit in Warsaw; thus we have only one-third of Bezalel. Nor must we forget that the Bezalel Museum, which holds much of the works of Bezalel and cannot be removed, remained in Jerusalem.
We must consider one other thing: the five years of the world war did not only break the cord which Bezalel was weaving, but many things were ruined and destroyed; to begin anew to spin, weave and build; to find new teachers and pupils among a people wretchedly tired and poverty stricken, under such circumstances to build Bezalel again to its former splendor and reputation is almost beyond human possibility.
The foremost part of the exhibit is that of the rugs; they are of all sizes, colors and designs. It is right that the rugs should occupy first place at the exhibit, because the rug is the natural and legitimate child of the East. The “Land of Morning” weaves into the carpet its noblest emotions, all its colorful ecstasies. The Oriental rug is an accord of the blue-silken skies; in it blends the sunshine, brown faces, heated blood, half closed dark eyes as if in slumber and a rapidly beating heart; all that is contained in the rug. We Jews always loved the rug, but we did not create it. We were not to be harnessed, we were unable to dreamily close our eyes. Bezalel come and commended: be calm my Jewish child, sit yourself down, take soft and flexible threads of various colors and bind them slowly, in silence and meditation. I have seen these Jewish children; they came from Boucharia, from Caucasia, and they came from Yemen; I also saw girls from Poland, Lithuania, and Galicia; of all parts of the universe; our children, with light or dark complexioned little heads; they were sitting at the loom and with their graceful and pliable fingers they were binding for us a colorful dream.
Professor Schatz brought with him a large number of rugs, ranging in all sizes: small, very small and some large ones too. Not all of them are perfect but many of them are exquisite; they are not all alike, some are deficient in the technique; but what can we expect? We have just begun. It is a wonderful accomplishment as it is. Can its value be estimated by dollars and cents? And yet, Bezalel is selling it, because Bezalel is greatly in need of money.
Works of metal occupy the second highest place of the exhibit; it is principally composed of bronze and brass, with a fairly good mixture of ivory. The largest piece in bronze is a bust of Dr. Herzl, it is the work of Schatz himself. He was commissioned by a committee in Chicago to make the bust for a public school which bears the name of Herzl; this bust will be sent there soon after the exhibition. There are many other reliefs cast of bronze, representing his best work, all sympathetic heads of Jews; among them, and the best one, is the prophet Jeremiah. There are many frames of baser metal, covered with brass and ornamented with complicated subjects; this, too, can be traced to Oriental art; the striking resemblance can best be observed by looking at a Persian or Oriental rug, or by viewing a mosaic with which Mohammedan temples have their walls covered; you note at once the endless complications, it repeats itself continually in movement, symmetry and rhythm. Also a large number of frames of various metals are enclosing small miniature paintings on ivory. There is also a lot of paintings and engravings on enamel, ceramics, and porcelain.
Many trays, plates and cups made of different metals are in great numbers; one particular plate attracts much attention, it is especially complicated. The entire story of the deliverance from Egypt in pictures is presented on that plate. A real fine piece of work, the finest museum could give it a place among its best collection.
The entire collection has thirty-five different forms of technique. The department of needle work contains interesting articles, here is a picture made of colored threads on delicate cloth; it shows the Jordan, the wailing wall, a camel and a city full of light in the background; and more and more such work produced by the talented Levy and Ben David. Not far away there is a showcase filled with cameos; small, beautiful and delicate figures, in filigree frames made of gold or silver; ready to adorn a delicate throat or breast of a graceful woman. In the same case are also to be found broaches and bracelets of a like design. Here we see a handsomely bound Bible. But the center of attraction at the exhibit is the Holy Arc.
Six years was devoted by the entire school of Bezalel on this work of art; all the departments of the school are represented there by their participation. It is a wonderful creation, every inch of this art structure is covered with noble art. It is a collective effort, and it embodies every branch of art of which Bezalel is capable.
Professor Schatz shows all of these to substantiate his words concerning the merits and the great needs of Bezalel; he could show much more; those who saw Bezalel in its own home, in Jerusalem, will know how poor Bezalel is in foreign lands. But even the little Bezalel has shown to us is sufficient that we rescue our only institution of art of her present financial conditions and to prepare for a safe future.
The professor gave us also a picture of the future Bezalel—it depends upon our will.
At the exhibit can be seen a plan for new buildings, which are being contemplated for Bezalel; a new home with new studios, if we only help make his visit a success; and the success will come if we all attend his exhibition, and each one of us will take with him as much as his financial conditions will permit him.
To The Bezalel Exhibit of New York
Written By: Saul Raskin
Between two mountains standing opposite each other lies scattered the old city of Jerusalem. On the summit of one of the mountains the first Hebrew University is being built; on the height of the other mountain has been standing for the past twenty years the buildings of “Bezalel,” the first Jewish art school.
For the past two decades, Professor Schatz, the founder of Bezalel, with a group of devoted instructors, a large number of pupils and still larger number of craftsmen, have endeavored to bring forth from the hidden corners of the Jewish soul something that would dazzle our eyes and gladden our hearts, they have been engaged in creating an art which would be distinctively our own; our own, with all its qualities and all its defects; our own, just as we ourselves have been created by God.
It is an arduous task! A self created and self developed style in the art of a people is a result of generations upon generations and their collective energies. The people, their environment, the skies above their heads, the earth beneath their feet, the outlines of the mountains, all the plants and all the animal life must all melt and fuse together with the nerves and blood of the people, all these will give birth to a national art.
Twenty years is too short a time, and a handful of people in Palestine cannot be regarded as the collective energy of the Jewish people.
To expect of Bezalel a complete, ready and worked out Jewish art, would be unjust; and yet, the roads are marked and the foundation is already laid; the things that have already been accomplished fill our hearts with hope and pride. The “how” and “where” and “when” have been pointed out to us; the flower we call “Jewish art” is in the process of blossoming and soon it will spread out its fragrant petals, if—if we shall only WILL it.
With these words came to us the founder of Bezalel, he brought with him some of his works of art, they serve as evidence to substantiate his words. He could have brought many more witnesses, much more of his arts to prove his words, if not for the Wemby exhibition in London, where a part of Bezalel is now sheltered. A part is also on exhibit in Warsaw; thus we have only one-third of Bezalel. Nor must we forget that the Bezalel Museum, which holds much of the works of Bezalel and cannot be removed, remained in Jerusalem.
We must consider one other thing: the five years of the world war did not only break the cord which Bezalel was weaving, but many things were ruined and destroyed; to begin anew to spin, weave and build; to find new teachers and pupils among a people wretchedly tired and poverty stricken, under such circumstances to build Bezalel again to its former splendor and reputation is almost beyond human possibility.
The foremost part of the exhibit is that of the rugs; they are of all sizes, colors and designs. It is right that the rugs should occupy first place at the exhibit, because the rug is the natural and legitimate child of the East. The “Land of Morning” weaves into the carpet its noblest emotions, all its colorful ecstasies. The Oriental rug is an accord of the blue-silken skies; in it blends the sunshine, brown faces, heated blood, half closed dark eyes as if in slumber and a rapidly beating heart; all that is contained in the rug. We Jews always loved the rug, but we did not create it. We were not to be harnessed, we were unable to dreamily close our eyes. Bezalel come and commended: be calm my Jewish child, sit yourself down, take soft and flexible threads of various colors and bind them slowly, in silence and meditation. I have seen these Jewish children; they came from Boucharia, from Caucasia, and they came from Yemen; I also saw girls from Poland, Lithuania, and Galicia; of all parts of the universe; our children, with light or dark complexioned little heads; they were sitting at the loom and with their graceful and pliable fingers they were binding for us a colorful dream.
Professor Schatz brought with him a large number of rugs, ranging in all sizes: small, very small and some large ones too. Not all of them are perfect but many of them are exquisite; they are not all alike, some are deficient in the technique; but what can we expect? We have just begun. It is a wonderful accomplishment as it is. Can its value be estimated by dollars and cents? And yet, Bezalel is selling it, because Bezalel is greatly in need of money.
Works of metal occupy the second highest place of the exhibit; it is principally composed of bronze and brass, with a fairly good mixture of ivory. The largest piece in bronze is a bust of Dr. Herzl, it is the work of Schatz himself. He was commissioned by a committee in Chicago to make the bust for a public school which bears the name of Herzl; this bust will be sent there soon after the exhibition. There are many other reliefs cast of bronze, representing his best work, all sympathetic heads of Jews; among them, and the best one, is the prophet Jeremiah. There are many frames of baser metal, covered with brass and ornamented with complicated subjects; this, too, can be traced to Oriental art; the striking resemblance can best be observed by looking at a Persian or Oriental rug, or by viewing a mosaic with which Mohammedan temples have their walls covered; you note at once the endless complications, it repeats itself continually in movement, symmetry and rhythm. Also a large number of frames of various metals are enclosing small miniature paintings on ivory. There is also a lot of paintings and engravings on enamel, ceramics, and porcelain.
Many trays, plates and cups made of different metals are in great numbers; one particular plate attracts much attention, it is especially complicated. The entire story of the deliverance from Egypt in pictures is presented on that plate. A real fine piece of work, the finest museum could give it a place among its best collection.
The entire collection has thirty-five different forms of technique. The department of needle work contains interesting articles, here is a picture made of colored threads on delicate cloth; it shows the Jordan, the wailing wall, a camel and a city full of light in the background; and more and more such work produced by the talented Levy and Ben David. Not far away there is a showcase filled with cameos; small, beautiful and delicate figures, in filigree frames made of gold or silver; ready to adorn a delicate throat or breast of a graceful woman. In the same case are also to be found broaches and bracelets of a like design. Here we see a handsomely bound Bible. But the center of attraction at the exhibit is the Holy Arc.
Six years was devoted by the entire school of Bezalel on this work of art; all the departments of the school are represented there by their participation. It is a wonderful creation, every inch of this art structure is covered with noble art. It is a collective effort, and it embodies every branch of art of which Bezalel is capable.
Professor Schatz shows all of these to substantiate his words concerning the merits and the great needs of Bezalel; he could show much more; those who saw Bezalel in its own home, in Jerusalem, will know how poor Bezalel is in foreign lands. But even the little Bezalel has shown to us is sufficient that we rescue our only institution of art of her present financial conditions and to prepare for a safe future.
The professor gave us also a picture of the future Bezalel—it depends upon our will.
At the exhibit can be seen a plan for new buildings, which are being contemplated for Bezalel; a new home with new studios, if we only help make his visit a success; and the success will come if we all attend his exhibition, and each one of us will take with him as much as his financial conditions will permit him.