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摘要
摘要
From drawing to paintings to installations, visual art in the 20th-century US has been marked by an explosion of productivity by Jews. Their work reflects profound historical and cultural issues, such as what it means to be a Jewish artist in the western tradition of Christian art, and what it means, as Jews, to be painters of the specifically American experience. Ori Soltes focuses primarily on the work of 20th-century Jewish painters to explore themes ranging from the trials of immigration, depictions of urban life and politics, renderings of the Holocaust, and the reconstitution of Judaism in recent years by feminist painters and Soviet emigrée artists. The astonishing array of work represented in this book sometimes displays overtly Jewish themes and symbols; other paintings are included for their importance in the general development of 20th-century painting. Balancing individual biographies of painters, stylistic analysis, and thematic interpretations, Soltes offers a remarkable survey of 20th-century American Jewish painting. Despite the diverse range of images, themes, a common thread among most of these paintings is the concept of tikkun olam--of repairing or fixing the world. Most of the artists represented here demonstrate an interest in the social, as well as the aesthetic, import of their work. We see this concern for social betterment in the urban paintings of the Soyer brothers, in the "political" paintings of Ben Shahn, in the Holocaust-inflected works of numerous artists, and in the more contemporary work of Joyce Ellen Weinstein decrying violence and racism. Such works of despair and repair are balanced by dozens of paintings of celebration, joyous experiments in how to convey Jewishness and Judaism on canvas into the 21st century. Concise, elegant, and sophisticated, Fixing the World is a teaching tool, a pleasure to read, and a feast for the eyes.
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This book's title refers, in somewhat colloquial fashion, to the Mishnaic and kabbalistic injunction tiqqun 'olam (repair the world), which Soltes sees as a motivating factor for the practice of Jewish artists in the US, especially in the stress they are held to place on the social rather than the strictly esthetic. An introduction briefly considers the always elusive problem of Jewish art and features some pioneering figures of the postemancipation era: Moritz Daniel Oppenheim, Pissarro, Soutine, Chagall, Modigliani, Lipchitz, and on the American continent, sculptor Moses Jacob Ezekiel. Three more substantial sections follow, devoted respectively to the immigrant generation of artists of the early decades of the 20th century, the period designated as "between representation and abstraction," roughly the years between 1940 and 1970, and more recent development embracing the current scene. The author's approach is resolutely biographical, with each of these subdivisions consisting of a gallery of representative figures whose life and work receive a short commentary. This approach is perhaps most useful in the last section of the book, which presents a panorama of Jewish painters now active, a few well known, but most likely unfamiliar to laypersons. A handsomely produced book with many excellent color illustrations. Summing Up: Recommended. General readers; lower-division undergraduates through graduate students. W. Cahn emeritus, Yale University
目录
Preface | p. ix |
Introduction | p. 1 |
The Problem of Jewish Art | p. 2 |
Jewish Artists after Emancipation | p. 3 |
Jewish Artists in the "Paris School" | p. 7 |
The Tum to America | p. 18 |
Part I. Immigrants and Artists: Finding and Fixing A Place | p. 21 |
City Life and Social Realism | p. 22 |
Precisionism, Magic Realism, and Political Commentary | p. 42 |
Part II. Between Representation and Abstraction | p. 51 |
The Ten and Others | p. 52 |
Abstract Expressionism | p. 61 |
From Chromaticism to Color Field Painting | p. 70 |
Intellect and Emotion | p. 78 |
Conceptual and Pop Art | p. 83 |
Part III. Toward Century's End | p. 91 |
Social Commentary and Spiritual Seeking | p. 92 |
The Return to the Holocaust | p. 98 |
An Explosion of Women Artists | p. 110 |
Fixing and Blurring Boundaries | p. 117 |
Shaping and Reshaping the Questions | p. 125 |
Notes | p. 147 |
Index | p. 159 |