Painting a people : Maurycy Gottlieb and Jewish art
著者
書誌事項
Painting a people : Maurycy Gottlieb and Jewish art
(The Tauber Institute for the study of European Jewry series)
University Press of New England, c2002
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Publication inf.: published by University Press of New England [for] Brandeis University Press
Bibliography: p. 257-270
Includes index
内容説明・目次
内容説明
Maurycy Gottlieb was born in 1856 in the small city known in Polish as Drohobycz, then attached to the province of Galicia in the Austro-Hungarian Empire. In the course of his very short life (he died at age 23), Gottlieb painted dozens of extraordinary works that have since found homes in museums in eastern Europe. (where he has long been honored as a Polish artist) and in Israel, where, following a major exhibition in 1991 in Tel-Aviv, he achieved the status of a founding father of Jewish art. The subjects of his paintings range from self-portraits and portraits of family and friends to "orientalist" themes, historical topics, and biblical scenes, including two important representations of Jesus. Ezra Mendelsohn situates this impressive body of work in the context of contemporary European painting, and uses Gottlieb's work to illuminate the sociopolitical and cultural complexity of the multi-ethnic and multi-religious Austro-Hungarian Empire prior to World War I. Interpreting the paintings, and their reception in Gottlieb's day and beyond, Mendelsohn touches on a number of key issues in modern Jewish history, among them identity, assimilation, acculturation, nationalism, the relationship between Jewry and European culture, and relations between Jews and non-Jews, particularly between Poles and Jews. Mendelsohn notes that Gottlieb "was an ideal subject for a historian of modern Jewish Eastern Europe with an interest in the visual dimension of Jewish culture." Since the artist's death in 1879, Polish nationalists, Jewish integrationists, Jewish nationalists, and finally the Israeli Jewish establishment, have laid claims to his art. Yet Mendelsohn shows that the subjects Gottlieb chose to paint--particularly the historical subjects--demonstrate that Gottlieb was first and foremost an artist of Jewish univeralism.
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