Bezalel in New York - The Maccabean
What an inspiring spectacle it is to behold the largest and richest Jewish community in the world, imbued with the dollar-hunting American spirit, unconscious for the most part of its distinctive character, suddenly roused to self-consciousness and pride by the vitalizing breath of the Jewish renaissance in Palestine! Bezalel came to town and the Jews of New York celebrated a Jewish national holiday. The rich and the poor, the orthodox and reformed, the radical and conservative, the “Germans” and the “Russians,” the “Austrians” and “Romanians,” have suddenly discovered that whatever else they may be, they are all Jews. They stand before concrete products, wrought by Jewish hands and informed with the Jewish spirit, and feel that spirit moving within them. One touch of Bezalel has made all Jewry kin. And what is Bezalel but one form of expression of the general Jewish national revival. Fortunately it is a form that speaks in direct and unambiguous terms, understood by all.
The various products of the Bezalel Institute were well represented in the large Concert Hall of the Madison Square Garden and thousands of New York Jews came to see them. The most prominent articles on exhibition were the carpets and rugs. They were hung in one large circle from the galleries and were characterized by a harmonious coloring, luxuriant but not at all garish. Each rug stood out as an individual product, the most prominent element of design being the Menorah, but each Menorah differently executed. It was surprising to find what manifold and varied effects could be produced from this one Jewish symbol. Another prominent symbol was the suspended “Eternal Light” (Ner Tomid) of the temple. One of the rugs that occupied a prominent place on the platform was particularly striking. Seen from a distance, it has the appearance of a faint blue sky seen dimly through the night.. As you approach it the blue becomes more and more magnetic and you imagine it is green. Once face to face with it you are amazed to recognize the flora of Palestine beautifully intermingled. It is one of the principles of Bezalel artistry to utilize the flora and fauna of Palestine.
The metal work came next in prominence. Thousands of articles ranging from an ash-tray to the intricately wrought Torah crowns were on view, covered with beautiful Hebrew lettering, and Biblical scenes. The artistic possibilities of the Hebrew characters seem to be unlimited.
The wood work was not so well represented as might lie expected. But there were numerous articles of a small kind, as cigarette-cases and picture-frames, each one, no matter how little, bearing some stamp of individuality. These were especially popular as souvenirs with the large number of visitors of small means, for the Jews of the East Side were even better represented at the Exhibit than those of the West Side, and everyone felt that he must take home some product of Bezalel.
There was also much wood-work inlaid with mother-of-pearl, laces, pearl-strings, and a number of embroideries in "appliqué" with exquisite coloring, which, as works of art, were as impressive as anything at the exhibit. One article that was very popular was an album containing ten reproductions of the sculptural works of Professor Schatz.
The exhibit was impressive not only in the quality of the articles displayed but also in the sheer quantity of them. The large variety of articles, as well as their fine finish and general appearance of solidity speak of an institution firmly established and rooted not only in sentiment but also in sound economics.
One reflection forces itself on the observer. The Zionists have always advanced the theory that a productive Jewish life in Palestine would radiate Jewish influence over all the lands of the Dispersion, and would not only raise the self-respect of the Jews themselves, but would also enhance their dignity and position with reference to their non-Jewish neighbors. That theory, like all theories, has been often questioned and scoffed at. But when you visit the Bezalel Exhibit and observe the proud and glowing faces, and then read what the general press reports on the revival of Jewish arts and crafts in Palestine, you realize that Palestinian influence is no longer a theory, but has become a fact.
—I. G.
Originally published: 01/01/1915
Bezalel in New York - The Maccabean
What an inspiring spectacle it is to behold the largest and richest Jewish community in the world, imbued with the dollar-hunting American spirit, unconscious for the most part of its distinctive character, suddenly roused to self-consciousness and pride by the vitalizing breath of the Jewish renaissance in Palestine! Bezalel came to town and the Jews of New York celebrated a Jewish national holiday. The rich and the poor, the orthodox and reformed, the radical and conservative, the “Germans” and the “Russians,” the “Austrians” and “Romanians,” have suddenly discovered that whatever else they may be, they are all Jews. They stand before concrete products, wrought by Jewish hands and informed with the Jewish spirit, and feel that spirit moving within them. One touch of Bezalel has made all Jewry kin. And what is Bezalel but one form of expression of the general Jewish national revival. Fortunately it is a form that speaks in direct and unambiguous terms, understood by all.
The various products of the Bezalel Institute were well represented in the large Concert Hall of the Madison Square Garden and thousands of New York Jews came to see them. The most prominent articles on exhibition were the carpets and rugs. They were hung in one large circle from the galleries and were characterized by a harmonious coloring, luxuriant but not at all garish. Each rug stood out as an individual product, the most prominent element of design being the Menorah, but each Menorah differently executed. It was surprising to find what manifold and varied effects could be produced from this one Jewish symbol. Another prominent symbol was the suspended “Eternal Light” (Ner Tomid) of the temple. One of the rugs that occupied a prominent place on the platform was particularly striking. Seen from a distance, it has the appearance of a faint blue sky seen dimly through the night.. As you approach it the blue becomes more and more magnetic and you imagine it is green. Once face to face with it you are amazed to recognize the flora of Palestine beautifully intermingled. It is one of the principles of Bezalel artistry to utilize the flora and fauna of Palestine.
The metal work came next in prominence. Thousands of articles ranging from an ash-tray to the intricately wrought Torah crowns were on view, covered with beautiful Hebrew lettering, and Biblical scenes. The artistic possibilities of the Hebrew characters seem to be unlimited.
The wood work was not so well represented as might lie expected. But there were numerous articles of a small kind, as cigarette-cases and picture-frames, each one, no matter how little, bearing some stamp of individuality. These were especially popular as souvenirs with the large number of visitors of small means, for the Jews of the East Side were even better represented at the Exhibit than those of the West Side, and everyone felt that he must take home some product of Bezalel.
There was also much wood-work inlaid with mother-of-pearl, laces, pearl-strings, and a number of embroideries in "appliqué" with exquisite coloring, which, as works of art, were as impressive as anything at the exhibit. One article that was very popular was an album containing ten reproductions of the sculptural works of Professor Schatz.
The exhibit was impressive not only in the quality of the articles displayed but also in the sheer quantity of them. The large variety of articles, as well as their fine finish and general appearance of solidity speak of an institution firmly established and rooted not only in sentiment but also in sound economics.
One reflection forces itself on the observer. The Zionists have always advanced the theory that a productive Jewish life in Palestine would radiate Jewish influence over all the lands of the Dispersion, and would not only raise the self-respect of the Jews themselves, but would also enhance their dignity and position with reference to their non-Jewish neighbors. That theory, like all theories, has been often questioned and scoffed at. But when you visit the Bezalel Exhibit and observe the proud and glowing faces, and then read what the general press reports on the revival of Jewish arts and crafts in Palestine, you realize that Palestinian influence is no longer a theory, but has become a fact.
—I. G.
Originally published: 01/01/1915