{"collection_objects":[{"tms_object_id":"5497","title":"Untitled (Old Man with Beard)","slug":"5497-untitled-old-man-with-beard","object_title":"Untitled (Old Man with Beard)","object_name":null,"sub_category":"Works on Paper","searchable_sub_category":"works-on-paper","accession_number":"1999-77","all_artists":[{"role":"Artist/Maker","name":"Marc Chagall, b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France","name_only":"Marc Chagall","bio_only":"b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France"}],"all_artists_compressed":"Marc Chagall, b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France (Artist/Maker)","alpha_sort":"Chagall, Marc","all_terms":[{"term":"Figurative"},{"term":"Highlight"}],"all_terms_compressed":"Figurative, Highlight","all_terms_compressed_searchable":"|||Figurative|||,|||Highlight|||","all_titles":"Untitled (Old Man with Beard)","city":null,"cities":null,"continents":[{"name":"Europe"}],"copyright":"© 2014 Artists Rights Society (ARS), New York / ADAGP, Paris","countries":[{"name":"France"}],"credit_line":"Gift of Frances Gershwin Godowsky and family in memory of George Gershwin","culture":null,"date_made":"c. 1931","date_range":"1900-1949","geo_combined":" France,  Europe","department":"Fine Arts","dimensions":"24 1/4 × 19 in. (61.6 × 48.3 cm)","earliest_date":"1921","inscription":null,"latest_date":"1941","marks":null,"medium":"Gouache and watercolor over charcoal or graphite on paper","on_view":"0","political_regions":null,"primary_artist":"Marc Chagall, b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France","provenance_project":"0","provenance":null,"pub_ex_entry":"Old Man with Beard depicts the outsize figure of a Jew standing alone in a snowy landscape before the backdrop of a Russian village. No one else can be seen, and there is not even a human footprint on the ground. The head is framed in the center of the canvas by the houses of the village. Wearing a Russian visored cap and dark caftan, the figure projects an aura of meditation. The depiction of a religious Jew derives from Chagall's store of images of Russian shtetl life. But the image is generalized and timeless without iconographic specificity and is rendered with a modernist vocabulary fused with folkloric elements and an odd disjunction of figure and houses behind. The remarkable dominance of the figure in the space, the tilt of the head, the hand gesture, and the houses that frame the head suggest that the artist continued to make use of various stylistic devices that he had employed previously. \r\n\r\n     Although this painting was created long after Chagall's departure from the Soviet Union in 1922, his fantasy world was occupied with the ordinary figures of Vitebsk. The old man with the beard in the Jewish Museum painting is a subject derived from one of the poor Jews whom he saw in Russia and used as models for his cycle of Old Jews. As Chagall states in \"My Life,\" his models were old beggars or itinerant Hasidic rabbis. From chance encounters with beggars, peddlers, and itinerant Jewish preachers, Chagall conjures up the eternal figure of the migrant rabbis and Jewish miracle workers so prevalent in Eastern European Jewish communities. Often they were wandering Jews, filled with holy inspiration, proclaiming the word of God, and they seemed to resonate with a spiritual radiance. In Old Man with Beard, we are aware that the figure is not employed merely as an actor in a scene. Rather, the singular nature of the figure allows us to experience his profound humanity. ","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 52-53.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 52-53.\r\n\r\nMattis, Olivia. GEORGE GERSHWIN AND MODERN ART: A RHAPSODY IN BLUE. Exh. cat. New York: Scala Arts Publishers, 2024, pp. 24-26.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":"https://stories.thejewishmuseum.org/the-most-popular-works-of-2018-in-the-jewish-museum-online-collection-60c63528234b","educator_resource":"http://s3.amazonaws.com/tjmassets/programs_educator_resources_pdf/JM_Chagall_CurriculumGuide.pdf","subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, November 1999.\r\n\r\nThe Jewish Museum, New York, MARC CHAGALL: YEARS OF WAR AND EXHILE, September 13, 2013-February 2, 2014.\r\n\r\nThe Baker Museum at Artist-Naples, Naples, Florida, GEORGE GERSHWIN AND MODERN ART: A RHAPSODY IN BLUE, February 10-June 16, 2024.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1999-07-01","object_images":[{"asset_id":"31231","hero_url":"https://thejm.netx.net//file/asset/31231/view/61970/view_61970?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/31231/view/61969/view_61969?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/31231/view/61968/view_61968?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":390,"height":500,"version_hash":"3493495238643012243","mod_date":null}],"artist":{"id":510398,"bio":null,"name":"Marc Chagall, b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France","slug":"marc-chagall-b-1887-vitebsk-russian-empire-now-belarus-d-1985-saint-paul-de-vence-france","name_only":"Marc Chagall","name_bio_only":"b. 1887, Vitebsk, Russian Empire (now Belarus); d. 1985, Saint-Paul-de-Vence, France","artist_wiki_data_id":"Q93284","artist_wiki_data_title":"Marc Chagall","artist_getty_ulan_id":"500115354","artist_getty_note":"Chagall was a prolific artist who was famous for his use of color and folkloric imagery. He preferred to be known as a Belarusian artist; however, following his exile from the Soviet Union in 1923 he was known as a major figure of the French École de Paris. Artist, b. in Russia, lived in France. Comment on works: religious, genre,"}},{"tms_object_id":"5075","title":"Mezuzah Cover Mezuzah Cover of Mas'uda Lakhriyef","slug":"5075-mezuzah-cover-mezuzah-cover-of-mas-uda-lakhriyef","object_title":"Mezuzah Cover of Mas'uda Lakhriyef","object_name":"Mezuzah Cover","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"1997-170","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Highlight"},{"term":"Islamic Art"},{"term":"Metalwork"},{"term":"Mezuzah"}],"all_terms_compressed":"Highlight, Islamic Art, Metalwork, Mezuzah","all_terms_compressed_searchable":"|||Highlight|||,|||Islamic Art|||,|||Metalwork|||,|||Mezuzah|||","all_titles":"Mezuzah Cover of Mas'uda Lakhriyef","city":null,"cities":null,"continents":[{"name":"Africa"}],"copyright":null,"countries":[{"name":"Morocco"}],"credit_line":"Purchase: Judaica Acquisitions Fund","culture":"Morocco","date_made":"20th century","date_range":"1900-1949","geo_combined":" Morocco,  Africa","department":"Judaica","dimensions":"10 1/4 × 7 in. (26 × 17.8 cm)","earliest_date":"1900","inscription":"Hebrew: Shaddai / Mas'uda Lakhriyef","latest_date":"1999","marks":null,"medium":"Silver: engraved and pierced","on_view":"0","political_regions":null,"primary_artist":null,"provenance_project":"0","provenance":null,"pub_ex_entry":"The Bible mandates that passages from Deuteronomy inscribed on a parchment scroll be hung on the doorposts of Jewish homes and Jewish-owned buildings. Surviving medieval Jewish homes in the kingdom of Aragon, Spain, still have small cavities carved out of the stone doorpost. The parchment was placed inside and covered by a protective device. None of these coverings survives from Spain, but the same form of mezuzah was used in Morocco by those Jews who descended from Iberian refugees, and late examples of their covers survive.\r\n     This example was used to cover the parchment in a door niche in Morocco in the home of Mas'uda Lakhriyef, whose name is cut out below the name Almighty in the top section. The remaining decoration is composed of arabesques of flowering vines that are enhanced by engraved details and set against cutout voids. Fitted with a (now missing) deeply colored textile on its underside, the mezuzah cover would have been greatly enhanced in its aesthetic affect, which was similar to that of contemporaneous prayer-shawl bags and ajouré Hanukkah lamps from workshops in Meknes.","pub_ex_remarks":"Revised from: Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 140.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 140.\r\n\r\nMann, Vivian B., ed. MOROCCO: JEWS AND ART IN A MUSLIM LAND. London: Merrell Publishers Ltd., 2000, p. 149.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"Cleveland Museum of Art, Cleveland, Ohio, ADORNING RITUAL: JEWISH CEREMONIAL ART FROM THE JEWISH MUSEUM, NEW YORK, May 24, 2025–November 1, 2026.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1997-05-13","object_images":[{"asset_id":"30876","hero_url":"https://thejm.netx.net//file/asset/30876/view/49993/view_49993?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/30876/view/49992/view_49992?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/30876/view/49991/view_49991?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":345,"height":500,"version_hash":"4187776844983102243","mod_date":null}],"artist":null},{"tms_object_id":"31131","title":"Untitled (Tenements, New York)","slug":"31131-untitled-tenements-new-york","object_title":"Untitled (Tenements, New York)","object_name":null,"sub_category":"Photographs","searchable_sub_category":"photographs","accession_number":"2008-69","all_artists":[{"role":"Artist/Maker","name":"Consuelo Kanaga, American, 1894-1978","name_only":"Consuelo Kanaga","bio_only":"American, 1894-1978"}],"all_artists_compressed":"Consuelo Kanaga, American, 1894-1978 (Artist/Maker)","alpha_sort":"Kanaga, Consuelo","all_terms":[{"term":"Highlight"},{"term":"New York City"},{"term":"Photo League"},{"term":"Women Artists"}],"all_terms_compressed":"Highlight, New York City, Photo League, Women Artists","all_terms_compressed_searchable":"|||Highlight|||,|||New York City|||,|||Photo League|||,|||Women Artists|||","all_titles":"Untitled (Tenements, New York)","city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Purchase: Gift of The Paul Strand Trust for the benefit of Virginia Stevens","culture":null,"date_made":"c. 1937","date_range":"1900-1949","geo_combined":" New York,  New York,  United States,  North and Central America","department":"Fine Arts","dimensions":"7 11/16 × 6 1/16 in. (19.5 × 15.4 cm)","earliest_date":"1927","inscription":"None","latest_date":"1947","marks":"- \"PF 29012\" in graphite on mount verso LC\r\n- \"PF 29012\" in graphite on verso LC","medium":"Gelatin silver print","on_view":"0","political_regions":null,"primary_artist":"Consuelo Kanaga, American, 1894-1978","provenance_project":"0","provenance":null,"pub_ex_entry":"Leftist political activism was a strong element in Kanaga’s work, beginning with her photographs of a labor strike in San Francisco in 1934. She provided photographs for progressive publications such as New Masses, Labor Defender, and Sunday Worker. Underlying this formal study of tenement laundry lines (a common motif in League imagery) is Kanaga’s empathy for the living conditions of the working class.","pub_ex_remarks":"The Jewish Museum, New York, THE RADICAL CAMERA: NEW YORK'S PHOTO LEAGUE, 1936-1951, November 04, 2011 - March 25, 2012.","pub_references":"Klein, Mason and Catherine Evans.  THE RADICAL CAMERA: NEW YORK’S PHOTO LEAGUE, 1936-1951.  Exh. cat.  New Haven: Yale University Press, 2011, p. 100, plate 13.","regions":null,"signed":"1","state":" New York","states":[{"name":"New York"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":"http://s3.amazonaws.com/tjmassets/programs_educator_resources_pdf/JM_PhotoLeague_CurriculumGuide.pdf","subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/the-radical-camera-new-yorks-photo-league-1936-1951","exhibitions":"The Jewish Museum, THE RADICAL CAMERA: NEW YORK'S PHOTO LEAGUE, 1936-1951, November 4, 2011-March 25, 2012; traveled to Columbus Museum of Art, Ohio, April 19-September 9, 2012; Contemporary Jewish Museum, San Francisco, October 11, 2012-January 21, 2013; Norton Museum of Art, Florida, March 14-June 16, 2013.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"2008-03-05","object_images":[{"asset_id":"32342","hero_url":"https://thejm.netx.net//file/asset/32342/view/57595/view_57595?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/32342/view/57594/view_57594?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/32342/view/57593/view_57593?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":"Digital image © 2008 The Jewish Museum, New York\r\nPhoto by Ardon Bar Hama","primary":"1","width":384,"height":500,"version_hash":"4479869244093385243","mod_date":null}],"artist":{"id":509053,"bio":"Born 1894, Astoria, Oregon\u003cbr/\u003e\r\nDied 1978\u003cbr/\u003e\u003cbr/\u003e\r\n\r\nAround 1900, Kanaga moved with her family to San Francisco, where she worked for the \u003ci\u003eSan Francisco Chronicle\u003c/i\u003e as a reporter and feature writer (1915–18) and later as a staff photographer (1918–19). At this time, she joined the California Camera Club and befriended the photographers Edward Weston and Dorothea Lange. In 1922 Kanaga moved to New York, where she photographed for the \u003ci\u003eNew York American\u003c/i\u003e (1922–24). There she met Alfred Stieglitz (1923), whose periodical \u003ci\u003eCamera Work\u003c/i\u003e had first spurred her interest in art photography. Returning to San Francisco, she made her living as a society portraitist and met the modernist and documentary photographer Tina Modotti, an early influence. After travels in Europe and North Africa in 1927–28 she returned to in New York, working as a photograph retoucher in the studio of the portrait and commercial photographer Nickolas Muray, and reopened her own portraiture business. She returned to San Francisco in 1929. Four of her photographs were included in the groundbreaking first exhibition of Group f/64 at the M. H. de Young Museum in San Francisco (1932). Unusually for the period, she included African American subjects in her work.\u003cbr/\u003e\u003cbr/\u003e\r\n\r\nAfter photographing a workers’ strike in San Francisco (1934) Kanaga became increasingly politically active and her photography shifted to overtly political subjects; she began to provide photographs for leftist publications such as \u003ci\u003eNew Masses\u003c/i\u003e, \u003ci\u003eLabor Defender\u003c/i\u003e and \u003ci\u003eSunday Worker\u003c/i\u003e (1935–36). By mid-decade she was back in New York again. In 1938 she joined the Photo League, where she lectured and became a leader of Documentary Group projects, including \u003ci\u003eNeighborhoods of New York\u003c/i\u003e. Her work, often focusing on portraits of the disempowered, was featured in several group exhibitions, including “This Is the Photo League” (1948–49) and three shows at the Museum of Modern Art: “In and Out of Focus: A Survey of Today’s Photography,” “50 Photographs by 50 Photographers” (both 1948), and “The Family of Man” (1955). Later she had several solo exhibitions, including two retrospectives at the Brooklyn Museum (1977, 1993). Her work appeared in the exhibition “The Women of the Photo League” at Higher Pictures Gallery, New York (2009).","name":"Consuelo Kanaga, American, 1894-1978","slug":"consuelo-kanaga-american-1894-1978","name_only":"Consuelo Kanaga","name_bio_only":"American, 1894-1978","artist_wiki_data_id":"Q3687666","artist_wiki_data_title":"Consuelo Kanaga","artist_getty_ulan_id":"500109790","artist_getty_note":""}},{"tms_object_id":"27468","title":"New York-Me and the Elevated","slug":"27468-new-york-me-and-the-elevated","object_title":"New York-Me and the Elevated","object_name":null,"sub_category":"Photographs","searchable_sub_category":"photographs","accession_number":"2000-7","all_artists":[{"role":"Artist/Maker","name":"Ilse Bing, b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York","name_only":"Ilse Bing","bio_only":"b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York"}],"all_artists_compressed":"Ilse Bing, b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York (Artist/Maker)","alpha_sort":"Bing, Ilse","all_terms":[{"term":"Cityscape"},{"term":"Highlight"},{"term":"New York City"},{"term":"Women Artists"}],"all_terms_compressed":"Cityscape, Highlight, New York City, Women Artists","all_terms_compressed_searchable":"|||Cityscape|||,|||Highlight|||,|||New York City|||,|||Women Artists|||","all_titles":"New York-Me and the Elevated","city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Purchase: Mr. and Mrs. George Jaffin Fund","culture":null,"date_made":"1936","date_range":"1900-1949","geo_combined":" New York,  New York,  United States,  North and Central America","department":"Fine Arts","dimensions":"7 3/8 × 11 1/8 in. (18.7 × 28.3 cm)","earliest_date":"1936","inscription":"Verso of mount board in pencil, center:\"New York-Me and the elevated\"\r\n                            \" in pencil, TL: \"ILSE/BING/1936\" and \"printed 1936\"\r\n                            \" in pencil, TR: \"RO\"\r\nInterior or mat in pencil:\"NEW YORK ME AND THE ELEVATED 1936                                           PCI 102\"","latest_date":"1936","marks":"Verso of frame typed label on backing: \"This artwork is glazed with Denglass,/ a non-reflective glass. Clean as you/ would ordinary glass. Do not use a/ razor blade or an abrasive product/that could scratch the coated surface.\"\r\n\r\nVerso of frame typed label on backing: \"EDWYNN HOUK GALLERY/1 photograph by Ilse Bing (American, b. Germany,/1899-1998)/NEW YORK, ELEVATED AND ME, 1936/ Vintage gelatin silver enlargement print/on matte surface paper, 7 1/2 x 11 inches./Printed by the photographer in Paris from/the original negative and mounted at the/ time for exhibition. Signed and dated on/the image./ 745 Fifth Avenue NEw YOrk NY 10151 Tel 212 750 7070 Fax 212 688 4848\"","medium":"Gelatin silver print","on_view":"1","political_regions":null,"primary_artist":"Ilse Bing, b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York","provenance_project":"0","provenance":null,"pub_ex_entry":"In this photograph, taken while on a visit to New York, German Jewish photographer Ilse Bing framed the Manhattan skyline within the diagonal lines of the elevated subway across the East River. Her signature use of an oblique angle give New York--Me and the Elevated the feeling of racing toward the midtown building, with the six-year-old Chrysler building rising in the center and the lower rooftops of the Queens residences below. The viewpoint is from the stationary platform where the photographer and her camera are reflected in a round mirror. By placing herself within the frame, Bing draws our attention to the relationship of the photographer to the city. She is an outsider--later to become a U.S. citizen--who has placed herself within the city's framework.\r\n","pub_ex_remarks":"The Jewish Museum, New York, MY AMERICA: ART FROM THE JEWISH MUSEUM COLLECTION, 1900-1955, March 26 - July 25, 2004.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 220-221.","regions":null,"signed":"1","state":" New York","states":[{"name":"New York"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":"https://stories.thejewishmuseum.org/an-outsider-looking-in-ilse-bings-self-portrait-of-new-york-city-7724077e33c3","educator_resource":"http://s3.amazonaws.com/tjmassets/programs_educator_resources_pdf/4_Unit_3-Photography_PortraitureIdentity_CG_Web_FA.pdf","subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/scenes-from-the-collection","exhibitions":"The Jewish Museum, New York, New York, PORTRAITS ON PAPER: A SAMPLING FROM THE COLLECTION, November 18, 2001–February 10, 2002.\r\n\r\nThe Jewish Museum, New York, MY AMERICA: ART FROM THE JEWISH MUSEUM COLLECTION, 1900-1955, March 26–July 25, 2004; travel to Columbia Museum of Art, Columbia, South Carolina, January 26–May 7, 2006; Judah Magnes Museum, Berkeley, California, June 3–September 24, 2006; Memorial Art Gallery, Rochester, New York, October 21–December 24, 2006.\r\n\r\nThe Jewish Museum, New York, SCENES FROM THE COLLECTION, PERSONAS: SELF-PORTRAITS, January 21–July 18, 2018.\r\n\r\nThe Jewish Museum, New York, JOAN SEMMEL: IN THE FLESH, December 12, 2025–May 31, 2026.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"2000-06-28","object_images":[{"asset_id":"31385","hero_url":"https://thejm.netx.net//file/asset/31385/view/55873/view_55873?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/31385/view/55872/view_55872?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/31385/view/55871/view_55871?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":500,"height":333,"version_hash":"3713168828714309243","mod_date":null}],"artist":{"id":510659,"bio":null,"name":"Ilse Bing, b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York","slug":"ilse-bing-b-1899-frankfurt-am-main-germany-d-1998-new-york-new-york","name_only":"Ilse Bing","name_bio_only":"b. 1899, Frankfurt am Main, Germany; d. 1998, New York, New York","artist_wiki_data_id":"Q85719","artist_wiki_data_title":"Ilse Bing","artist_getty_ulan_id":"500007274","artist_getty_note":"Bing was one of the main figures of New Photography in Paris in the 1930s. Born 23 March 1899. In 1929-1930 Bing photographed avant-garde architecture in Frankfurt am Main. In 1930 Bing moved to Paris, France. In 1934 Bing experimented with the solarization technique. Bing emigrated to New York City, New York, United States in 1941. In 1957 Bing abandoned black and white film and began to work exclusively in colour. In 1959 Bing gave up photography and devoted herself to painting and poetry."}},{"tms_object_id":"5067","title":"Torah Pointer","slug":"5067-torah-pointer","object_title":null,"object_name":"Torah Pointer","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"1997-165","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Highlight"},{"term":"Islamic Art"},{"term":"Metalwork"},{"term":"Torah Ornament"}],"all_terms_compressed":"Highlight, Islamic Art, Metalwork, Torah Ornament","all_terms_compressed_searchable":"|||Highlight|||,|||Islamic Art|||,|||Metalwork|||,|||Torah Ornament|||","all_titles":null,"city":null,"cities":null,"continents":[{"name":"Africa"}],"copyright":null,"countries":[{"name":"Morocco"}],"credit_line":"Purchase: Judaica Acquisitions Fund","culture":"Morocco","date_made":"19th–20th century","date_range":"1800-1849","geo_combined":" Morocco,  Africa","department":"Judaica","dimensions":"Overall (without chain): 6 5/8 × 7/8 × 1/8 in. (16.8 × 2.2 × 0.3 cm)\r\nOverall (with chain): 14 1/8 × 7/8 × 1/8 in. (35.9 × 2.2 × 0.3 cm)","earliest_date":"1800","inscription":null,"latest_date":"1999","marks":null,"medium":"Silver: cast, engraved, enamel, and parcel-gilt","on_view":"0","political_regions":null,"primary_artist":null,"provenance_project":"0","provenance":null,"pub_ex_entry":"The flat form of this pointer is typical of Morocco.","pub_ex_remarks":"The Jewish Museum, New York, MOROCCO: JEWS AND ART IN MUSLIM LAND, September 24, 2000 - February 11, 2001.","pub_references":"Grammet, Ivo, Min Dewachter, and Els De Palmenaer, eds.  MAROC: LES ARTISANS DE LA MÉMOIRE.  Snoeck (Ghent), 2006, no. 183.\r\n\r\nMann, Vivian B., ed. MOROCCO: JEWS AND ART IN A MUSLIM LAND. London: Merrell Publishers, 2000, p. 144.\r\n\r\n","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/morocco-jews-and-art-in-a-muslim-land","exhibitions":"The Jewish Museum, New York, MOROCCO: JEWS AND ART IN MUSLIM LAND, September 24, 2000-February 11, 2001.\r\n\r\nEthnographic Museum, Antwerp, Belgium, MOROCCO: Artisans of Memory, March 2-October 1, 2006.\r\n\r\nThe Jewish Museum, New York, AS IT WERE ... SO TO SPEAK: A MUSEUM COLLECTION IN DIALOGUE WITH BARBARA BLOOM, March 15-August 4, 2013.\r\n\r\nThe Museum of Fine Arts, Houston, Texas, BEAUTY AND RITUAL: JUDAICA FROM THE JEWISH MUSEUM, NEW YORK, July 10-September 18, 2022.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1997-05-13","object_images":[{"asset_id":"94082","hero_url":"https://thejm.netx.net//file/asset/94082/view/210864/view_210864?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/94082/view/211223/view_211223?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/94082/view/210508/view_210508?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/94082/view/210254/view_210254?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":375,"version_hash":"30600819461808252243","mod_date":null},{"asset_id":"94080","hero_url":"https://thejm.netx.net//file/asset/94080/view/210954/view_210954?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/94080/view/211142/view_211142?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/94080/view/210622/view_210622?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/94080/view/210293/view_210293?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":326,"version_hash":"35025292261719459243","mod_date":null},{"asset_id":"30866","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":500,"height":151,"version_hash":"1951131613984648243","mod_date":null}],"artist":null},{"tms_object_id":"1443","title":"The Altar","slug":"1443-the-altar","object_title":"The Altar","object_name":null,"sub_category":"Sculpture","searchable_sub_category":"sculpture","accession_number":"1984-142","all_artists":[{"role":"Artist/Maker","name":"Leonard Baskin, American, 1922-2000","name_only":"Leonard Baskin","bio_only":"American, 1922-2000"}],"all_artists_compressed":"Leonard Baskin, American, 1922-2000 (Artist/Maker)","alpha_sort":"Baskin, Leonard","all_terms":[{"term":"Biblical"},{"term":"Figurative"},{"term":"Highlight"}],"all_terms_compressed":"Biblical, Figurative, Highlight","all_terms_compressed_searchable":"|||Biblical|||,|||Figurative|||,|||Highlight|||","all_titles":"The Altar","city":null,"cities":null,"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of Mr. Herman Tenenbaum and the Saul and Suzanne Mutterperl Bequest, by exchange, in honor of Mildred and George Weissman","culture":null,"date_made":"1977","date_range":"1950-1999","geo_combined":" United States,  North and Central America","department":"Fine Arts","dimensions":"60 1/2 × 69 × 35 1/4 in. (153.7 × 175.3 × 89.5 cm)","earliest_date":"1977","inscription":null,"latest_date":"1977","marks":null,"medium":"Lindenwood: carved and laminated","on_view":"0","political_regions":null,"primary_artist":"Leonard Baskin, American, 1922-2000","provenance_project":"0","provenance":null,"pub_ex_entry":"Leonard Baskin's figurative art stems from his deep understanding of artistic and literary traditions of both Western civilization and Judaism. The ancient themes that he derives from biblical, mythological, and historical sources forcefully convey contemporary human dilemmas.\r\n\r\nThe representational nature of Baskin's sculpture and graphics has been noted as an anomaly within the prevailing Abstract Expressionist and Minimalist aesthetic under which he matured. Yet certain stylistic conventions and thematic issues associated with these movements have found their way into his art. Baskin must also be identified with the vital current of figurative art that continued to develop alongside abstraction in the postwar years.\r\n\r\nFor Baskin, meaning can be expressed only through the human figure. His realism is indeed a reductivist one; he pares his forms just as he condenses content. Art historian Irma Jaffe notes mortality, grief, suffering, and homage as main themes that inform Baskin's works. What at first appears as a pessimistic vision is filtered into an expression of renewal and hope through the artist's manipulation of emotions. His own words plainly confirm his artistic struggle to find universal meaning in tragic subjects: \"The human figure is the image of all men and on man. It contains all and can express all.\"\r\n\r\nMonumental in scale, \"The Altar\" ranks as Baskin's most important wood carving. It is a highly refined synthesis of the metaphysical themes with those of the Hebrew Bible, all filtered through the artists strong Jewish background. Out of this large mass of wood emerges the figure of the trusting Isaac, stretched out upon the altar where Abraham dutifully prepares to sacrifice him. Isaac's back fuses with that of Abraham, who faces the opposite direction, emotionally overwhelmed, but relieved. An angel's wings sprout between the two bodies, protectively shrouding the supine body of Isaac. We recognize Baskin's frequent trope of giving his biblical or mythical characters his own features, thus making Abraham and Isaac-and by extension, the symbolically represented angel-into self-portraits. As such, Baskin's sculptural union of each of the three ancient protagonists-Isaac, Abraham, and the angel-projects the analogous tripartite conflicts within his and every person's psyche that Freud characterized as id, superego, and ego. \r\n\r\nAs Baskin learned of the German concentration camps in the 1940s and began to come to terms with his own mortality, his paintings, sculptures, and poems were preoccupied with the subject of death. Although for many years he collected images and newspaper clippings that related to the Holocaust, he did not confront the topic directly until the 1980s, when he created a serious of watercolors accompanied by Yiddish epigrams that embodied his emotions. In 1990, the Ann Arbor Holocaust Memorial Foundation commissioned Baskin to create a bronze monument honoring the victims of the Nazis. In 1994, this was sited on the campus of the University of Michigan. Baskin continued to delve into this subject and created a series of large-scale woodcuts, exhibited in 1998. The extraordinary efflorescence of his artistic interest in this devastating period of history and the proliferation of Holocaust museums and monuments is a logical extension of the attitudes that pervaded his oeuvre for nearly six decades. \"The Altar\" foreshadows Baskin's obsession with the Holocaust in his later, equally powerful works.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 156-157.","pub_references":"Baskin, Judith R., ed., and Kenneth Seeskin, ed. THE CAMBRIDGE GUIDE TO JEWISH HISTORY, RELIGION, AND CULTURE. Cambridge: Cambridge University Press, 2010. \r\n\r\nBerger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 156-157.\r\n\r\nJaffe, Irma B. THE SCULPTURE OF LEONARD BASKIN. New York: The Viking Press, 1980.\r\n\r\nMann, Vivian B. and Norman Kleeblatt. TREASURES OF THE JEWISH MUSEUM.  New York: Universe Books, 1986, p. 196.\r\n\r\nMann, Vivian B., and Emily D. Bilski. THE JEWISH MUSEUM: NEW YORK. London: Scala Books, 1993, pp. 122-123. \r\n\r\n","regions":null,"signed":"1","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":"https://soundcloud.com/thejewishmuseum/the-altar-leonard-baskin?in=thejewishmuseum/sets/permanent-collection","related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, March 23, 1986-August 2, 1987. \r\n\r\nMuseum of Fine Arts, Springfield, Massachusetts, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, December 16, 1987-February 28, 1988.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, April 28, 2003-February 12, 2017.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"29657","hero_url":"https://thejm.netx.net//file/asset/29657/view/60002/view_60002?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/29657/view/60001/view_60001?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/29657/view/60000/view_60000?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":"Photo by John Parnell\r\nThis image may not be reproduced without the expressed written consent of The Jewish Museum, New York.","primary":"1","width":500,"height":447,"version_hash":"4743306237564208243","mod_date":null}],"artist":{"id":509489,"bio":null,"name":"Leonard Baskin, American, 1922-2000","slug":"leonard-baskin-american-1922-2000","name_only":"Leonard Baskin","name_bio_only":"American, 1922-2000","artist_wiki_data_id":"Q2601617","artist_wiki_data_title":"Leonard Baskin","artist_getty_ulan_id":"500003136","artist_getty_note":""}},{"tms_object_id":"4779","title":"Necklace","slug":"4779-necklace","object_title":null,"object_name":"Necklace","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"1994-76","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Amulet"},{"term":"Highlight"},{"term":"Jewelry"},{"term":"Metalwork"}],"all_terms_compressed":"Amulet, Highlight, Jewelry, Metalwork","all_terms_compressed_searchable":"|||Amulet|||,|||Highlight|||,|||Jewelry|||,|||Metalwork|||","all_titles":null,"city":" Ṣanʻā'","cities":[{"name":"Ṣanʻā'"}],"continents":[{"name":"Asia"}],"copyright":null,"countries":[{"name":"Yemen"}],"credit_line":"Purchase: Gift of Dr. Harry G. Friedman, by exchange","culture":"Ṣanʻā' (Yemen)","date_made":"late 19th-early 20th century","date_range":"1850-1899","geo_combined":" Ṣanʻā',  Middle East,  Yemen,  Asia","department":"Judaica","dimensions":"3 1/2 × 22 3/4 in. (8.9 × 57.8 cm)","earliest_date":"1875","inscription":"Chisel cut on the blank side of each tadahrif (triangles), in Hebrew.  Genesis 49:22, Psalm 121:1-7: \"[Joseph is a fruitful vine, a fruitful vine by a fountain.  Its branches run over the wall.]\"","latest_date":"1925","marks":"Letter (D?) inside oval stamp on the top of triangle.","medium":"Silver: granulated, filigree, parcel-gilt, appliqué, engraved, and punched; glass","on_view":"0","political_regions":null,"primary_artist":null,"provenance_project":"0","provenance":null,"pub_ex_entry":"According to various accounts, Jews arrived in Yemen either during the time of Joshua or in the tenth century B.C.E. The first secure evidence for their presence is a series of grave markers dated four centuries later. Some documents from the Cairo Genizah of the tenth to the twelfth century refer to the Jews in southern Arabia, but it is only in the eighteenth century that the Jews of San'a, the capital of Yemen, began to record their history in the city and the surrounding region. Their long presence in Yemen ceased after the founding of the State of Israel, when the Jews of southern and central Yemen emigrated en masse, leaving only a small community in the north.\r\n     \r\nThe departure of the Jews meant the loss of most of the craftsmen of Yemen, especially its silversmiths, a métier that Jews had practiced even prior to the Arab conquest in the seventh century C.E. The fine work evident in this necklace and the small, detailed forms that compose it are the marks of a long tradition of skilled silversmithing. The choker consists of fifteen or more strands. This necklace, known as ma'anageh, was worn by Jewish girls and women from San'a for weddings and festive occasions. The silversmith alternated silver and gilt octagonal and cubic beads to create a rich coloristic effect. The same beads decorate the tadarif, the triangular pieces that cover the ends of the strands of beads, again resulting in a color contrast that is enhanced by small colored glass stones. Characteristic of this type of necklace is the twisting of the strands in the middle. An unusual aspect of this necklace is the biblical inscriptions engraved on the back of the two triangular end panels. These amuletic texts may have been added later, possibly in Israel.\r\n     \r\nIn the Islamic world, jewelry worn by women represented their dowry and the wealth of the household. The great variety of forms and their ownership by all sectors of the Jewish community signify the importance of jewelry to Yemenite Jews.","pub_ex_remarks":"Adapted from: Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 135.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 135.\r\n\r\nBloom, Jonathan M., ed., and Sheila S. Blair, ed. THE GROVE ENCYCLOPEDIA OF ISLAMIC ART \u0026 ARCHITECTURE. New York: Oxford University Press, 2009, p. 359, illustrated.","regions":[{"name":"Middle East"}],"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":"https://soundcloud.com/thejewishmuseum/choker-necklace?in=thejewishmuseum/sets/permanent-collection","related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/scenes-from-the-collection","exhibitions":"The Jewish Museum, New York, RECENT ACQUISITIONS, 1993-1995, January 28-October 24, 1996.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, March 10, 1998-February 12, 2017.\r\n\r\nThe Jewish Museum, New York, SCENES FROM THE COLLECTION, TAXONOMIES, January 21, 2018-May 27, 2024.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1994-07-08","object_images":[{"asset_id":"30635","hero_url":"https://thejm.netx.net//file/asset/30635/view/60902/view_60902?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/30635/view/60901/view_60901?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/30635/view/60900/view_60900?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/30635/view/60899/view_60899?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":468,"version_hash":"3985419235243768243","mod_date":null}],"artist":null},{"tms_object_id":"33810","title":"Mezuzah Case Connection","slug":"33810-mezuzah-case-connection","object_title":"Connection","object_name":"Mezuzah Case","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"2011-18","all_artists":[{"role":"Artist/Maker","name":"Dror Benshetrit, Israeli, b. 1977","name_only":"Dror Benshetrit","bio_only":"Israeli, b. 1977"},{"role":"Manufacturer","name":"Alessi","name_only":"Alessi","bio_only":""}],"all_artists_compressed":"Dror Benshetrit, Israeli, b. 1977 (Artist/Maker) | Alessi (Manufacturer)","alpha_sort":"Benshetrit, Dror","all_terms":[{"term":"Contemporary Judaica"},{"term":"Highlight"},{"term":"Metalwork"},{"term":"Mezuzah"}],"all_terms_compressed":"Contemporary Judaica, Highlight, Metalwork, Mezuzah","all_terms_compressed_searchable":"|||Contemporary Judaica|||,|||Highlight|||,|||Metalwork|||,|||Mezuzah|||","all_titles":"Connection","city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of Museo Alessi","culture":"New York, United States","date_made":"2010","date_range":"2000-Present","geo_combined":" New York,  New York,  United States,  North and Central America","department":"Judaica","dimensions":"4 3/16 × 1 1/2 × 9/16 in. (10.6 × 3.8 × 1.4 cm)","earliest_date":"2010","inscription":"Verso, C, stamped, \"ALESSI / INOX 18/10 / DROR BENSHETRIT\"\r\nVerso, Lower C, printed in ink, \"In collaboration with / THE / JEWISH / MUSEUM / New York\"","latest_date":"2010","marks":"None","medium":"Stainless steel: cast","on_view":"0","political_regions":null,"primary_artist":"Dror Benshetrit, Israeli, b. 1977","provenance_project":"0","provenance":"the artist; Museo Alessi (until 2011); donated to TJM","pub_ex_entry":null,"pub_ex_remarks":null,"pub_references":null,"regions":null,"signed":"1","state":" New York","states":[{"name":"New York"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":null,"alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"32701","hero_url":"https://thejm.netx.net//file/asset/32701/view/58498/view_58498?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/32701/view/58497/view_58497?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/32701/view/58496/view_58496?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":"Photo by Richard Goodbody, Inc.   \r\nThis image may not be reproduced without the expressed written consent of The Jewish Museum, New York","primary":"1","width":477,"height":500,"version_hash":"2540285429762840243","mod_date":null}],"artist":{"id":508981,"bio":null,"name":"Dror Benshetrit, Israeli, b. 1977","slug":"dror-benshetrit-israeli-b-1977","name_only":"Dror Benshetrit","name_bio_only":"Israeli, b. 1977","artist_wiki_data_id":"Q5308501","artist_wiki_data_title":"Dror Benshetrit","artist_getty_ulan_id":"500290629","artist_getty_note":""}},{"tms_object_id":"5371","title":"Landscape with Black Sun","slug":"5371-landscape-with-black-sun","object_title":"Landscape with Black Sun","object_name":null,"sub_category":"Paintings","searchable_sub_category":"paintings","accession_number":"1998-59","all_artists":[{"role":"Artist/Maker","name":"Mordecai Ardon, b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel","name_only":"Mordecai Ardon","bio_only":"b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel"}],"all_artists_compressed":"Mordecai Ardon, b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel (Artist/Maker)","alpha_sort":"Ardon, Mordecai","all_terms":[{"term":"Abstract"},{"term":"Highlight"},{"term":"Landscape"}],"all_terms_compressed":"Abstract, Highlight, Landscape","all_terms_compressed_searchable":"|||Abstract|||,|||Highlight|||,|||Landscape|||","all_titles":"Landscape with Black Sun","city":null,"cities":null,"continents":[{"name":"Asia"}],"copyright":null,"countries":[{"name":"Israel"}],"credit_line":"Purchase: Beren Foundation Fund","culture":null,"date_made":"1961","date_range":"1950-1999","geo_combined":" Middle East,  Israel,  Asia","department":"Fine Arts","dimensions":"31 × 39 3/8 in. (78.7 × 100 cm)","earliest_date":"1961","inscription":null,"latest_date":"1961","marks":null,"medium":"Oil on canvas","on_view":"0","political_regions":null,"primary_artist":"Mordecai Ardon, b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel","provenance_project":"0","provenance":null,"pub_ex_entry":"Most of the German Jewish artists who emigrated to Eretz Yisrael in the early 1930s settled in Jerusalem. A number of them became involved with the Bezalel School of Arts and Crafts, which was founded there in 1906. It was forced to close in 1929 as a result of financial and organizational problems, as well as harsh criticism of its rejection of modernism. When the school was reopened in 1935, its teachers were mostly of German Jewish origin. Mordecai Ardon was an important member of this artistic group, along with Jakob Steinhardt, Anna Ticho, and Leopold Krakauer. Regardless of their stylistic differences, these German artists had a great deal in common, and their culture and point of view were completely different from those of the Jewish expressionists in Paris. They were opposed to aestheticism for its own sake and believed that artists had a moral mission and that their work should have social meaning.\r\nBorn Mordecai Eliezer Bronstein in Tuchow, Poland, Ardon moved to Germany in 1919. His studies at the Bauhaus in Weimar from 1921 until its closing in 1924 brought him into close contact with Paul Klee, Wassily Kandinsky, and Lionel Feininger. From 1930 to 1933, he taught painting at Johannes Itten's school in Berlin. When compelled to flee Germany in 1933, he decided to immigrate to Palestine, although he was a Communist, not a Zionist. Once settled in Jerusalem, he joined the New Bezalel School of Arts and Crafts, becoming its director in 1940.\r\nUntil the 1940s, most of Ardon's paintings showed the panorama of the Judaean hills, with their mysterious light. In 1946, however, the artist turned to subjects related to the Holocaust. In the 1950s, Ardon's work developed in the direction that is reflected in Landscape with Black Sun.\r\nThis painting, a paradigmatic work by Ardon, attempts to address solemn tradition and historical events, couching their meaning in symbolic and ancient mystical signs and allegorical visions. While the artist does not refer explicitly to the Holocaust, the black sun and intense hues have been interpreted as a tragic vision of those events. Although the landscape symbolizes rather than narrates, the fiery red patterns that spread across the surface of the painting suggest a universe suffused with blood. Even the sun has turned black, suggesting a form of cosmic eclipse. This symbolic landscape hovers between nature and abstraction, creating a dynamic interaction between earth and sky, a space that brims with emotional energy. The lower portion of the painting reveals a black ground with yellow and red flat planes or color scattered in an irregular pattern. This layered painting, with rich textures, incisions, and broad brush strokes creates a mottled, tactile surface.\r\nUsing animated brush strokes for this and other landscapes as well as portraits, Ardon began in the early 1950s to condense full volumes into flat planes and compress figurative details into linear and geometric designs. Within a short time, his compositions developed into a poignant inner visual language divorced from external reality, formed by pictograms and abstract shapes that emerged in earthly, celestial, and apocalyptic backgrounds.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 62-63.","pub_references":"Ardon Ish-Shalom, Dalia. ARDON: A COMPREHENSIVE CATALOGUE. Jerusalem, Association for the Perpetuation of the Artistic Legacy of Mordecai Ardon, 2019, p. 132. \r\n\r\nBerger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 62-63.","regions":[{"name":"Middle East"}],"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":null,"alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1998-06-08","object_images":[{"asset_id":"74837","hero_url":"https://thejm.netx.net//file/asset/74837/view/92132/view_92132?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/74837/view/92133/view_92133?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/74837/view/92131/view_92131?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":500,"height":395,"version_hash":"7873022045505765243","mod_date":null}],"artist":{"id":510509,"bio":null,"name":"Mordecai Ardon, b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel","slug":"mordecai-ardon-b-1896-tuchow-galicia-austria-hungary-now-poland-d-1992-jerusalem-israel","name_only":"Mordecai Ardon","name_bio_only":"b. 1896, Tuchów, Galicia, Austria-Hungary (now Poland); d. 1992, Jerusalem, Israel","artist_wiki_data_id":"Q631835","artist_wiki_data_title":"Mordecai Ardon","artist_getty_ulan_id":"500030956","artist_getty_note":""}},{"tms_object_id":"1545","title":"New Year Greeting","slug":"1545-new-year-greeting","object_title":null,"object_name":"New Year Greeting","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"1984-71","all_artists":[{"role":"Attributed to","name":"Happy Jack (born Angokwazhuk), Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory","name_only":"Happy Jack (born Angokwazhuk)","bio_only":"Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory"}],"all_artists_compressed":"Happy Jack (born Angokwazhuk), Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory (Attributed to)","alpha_sort":"Jack, Happy","all_terms":[{"term":"Folk"},{"term":"High Holy Days"},{"term":"Highlight"},{"term":"Immigration"},{"term":"Indigenous"}],"all_terms_compressed":"Folk, High Holy Days, Highlight, Immigration, Indigenous","all_terms_compressed_searchable":"|||Folk|||,|||High Holy Days|||,|||Highlight|||,|||Immigration|||,|||Indigenous|||","all_titles":null,"city":" Nome","cities":[{"name":"Nome"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of the Kanofsky Family in memory of Minnie Kanofsky","culture":"Nome, Alaska, United States","date_made":"1910","date_range":"1900-1949","geo_combined":" Nome,  Alaska,  United States,  North and Central America","department":"Judaica","dimensions":"2 5/8 × 9 1/8 × 1 in. (6.7 × 23.2 × 2.5 cm)","earliest_date":"1910","inscription":"In Hebrew: \"May you be inscribed for a good year, 5671 [1910]\".\r\nIn English: \"Nome, Alaska\".","latest_date":"1910","marks":null,"medium":"Walrus tusk: engraved; gold inset","on_view":"0","political_regions":null,"primary_artist":"Happy Jack (born Angokwazhuk), Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory","provenance_project":"0","provenance":null,"pub_ex_entry":"For 350 years, Jewish immigrants have brought to America their talent and drive to succeed, displaying entrepreneurship, patriotism, and often a great spirit of adventure. New opportunities combined with few restrictions allowed Jews to participate actively in the economic life of the United States. Jews also played an important role in the western migration by settling in less desirable areas. For example, the genesis of Alaska's Jewish community coincided with the purchase of the territory by the United States in 1867. It is believed that some Jews sailed there with the Russian fishing fleets in the 1830s and 1840s, but it was not until a Jewish-owned firm, the Alaska Commercial Company, secured the seal-fishing rights that known Jewish traders began making regular visits to the territory. In 1885, the first permanent Jewish settlers arrived in Juneau.\r\n\r\nThe Klondike gold rush of 1897, soon followed by another discovery of gold near Nome, brought thirty thousand miners, fortune hunters, and businessmen into Cape Nome. A number of Jews joined the immigration, and Inuits also sought a share of the bonanza. Several hundred of the latter rapidly established a market for native clothing, along with carved ivory figurines, cribbage boards, and other souvenirs.\r\n\r\n\r\nThis unusual Alaskan artifact combines the Jewish custom of sending Rosh Hashanah cards with the centuries-old Inuit craft of walrus-tusk carving, a tradition that developed quite separately from the whaleman's scrimshaw. However, with the arrival of the whalers in the nineteenth century, both Inuit carvers and scrimshanders expanded their repertoires as they exchanged techniques and materials. The complexity and diversity of Inuit subjects increased as more sophisticated interpretations displaced schematic figures and linear ornamentation. Inuit carvers quickly learned to copy illustrations or photographs in what is termed a \"western pictorial style.\"\r\nThe most innovative and influential of the carvers was the Alaskan Inuit Angokwazhuk, known as \"Happy Jack.\" He is credited with the introduction, after 1892, of the art of engraving walrus tusks with a very fine needle, which resulted in an almost perfect imitation of newspaper halftones and fabric textures. The carvers enhanced the incised lines by filling them with india ink, graphite, or ashes.\r\nMost of the engraved walrus tusks are unsigned, but several closely resemble this carving. A cribbage board, for example, assumed to have been made by Happy Jack, is embellished with portraits of a couple separated by a nosegay. Even though he could not read or write, Happy Jack reproduced written inscriptions; one work included the full content of a Packer's Tar Soap label with its portrait, pinecones, and slogan. While some other native carvers also had the ability to copy the inscriptions and photographs provided by their customers, they lacked his consummate skill.\r\n\r\n\r\nOn this tusk, the artist has ably recorded the faces and attire of a religiously observant Jewish couple, believed to have run a store in Nome. The woman seems to be wearing a wig and is dressed in typical turn-of-the-century style. The man's beard is neatly trimmed; his top hat suggests a holiday or formal occasion. The Hebrew inscription delivers the traditional Jewish New Year salutation: \"May you be inscribed for a good year, 5671 [1910].\" In English is added: \"Nome, Alaska.\"","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 212-213.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 212-13.\r\n\r\nKleeblatt, Norman L. \u0026 Dr. Vivian B. Mann. TREASURES OF THE JEWISH MUSEUM. New York: The Jewish Museum, 1986, pp. 132-133.\r\n\r\nKleeblatt, Norman L. THE JEWISH HERITAGE IN AMERICAN FOLK ART. New York: The Jewish Museum, 1984, p. 94.\r\n\r\nMann, Vivian B., and Emily D. Bilski. THE JEWISH MUSEUM: NEW YORK. London: Scala Books, 1993, p. 62.\r\n\r\nMichel, Joan. HADASSAH JEWISH HOLIDAY COOKBOOK. Universe, 2003. \r\n\r\nRay, Dorothy Jean. \"Happy Jack: King of the Eskimo Ivory Carvers.\" AMERICAN INDIAN ART, Vol. 15 (winter 1984): pp. 32-47.","regions":null,"signed":"0","state":" Alaska","states":[{"name":"Alaska"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, THE JEWISH HERITAGE IN AMERICAN FOLK ART, November 9, 1984-March 17, 1985.\r\n\r\nThe Jewish Museum, New York, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, March 23, 1986- August 2, 1987.\r\n\r\nMuseum of Fine Arts, Springfield, Massachusettes, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, December 16, 1987-February 28, 1988.\r\n\r\nWilliams College Museum of Art, Williamstown, Massachusettes, November 4, 1990 - February 16, 1991.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, November 22, 1999-April 11, 2002 and April 28, 2003-February 12, 2017.\r\n\r\nThe Jewish Museum, New York, SCENES FROM THE COLLECTION, TAXONOMIES, January 21, 2018-May 27, 2024.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1984-11-12","object_images":[{"asset_id":"98528","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"11518632635775366243","mod_date":null},{"asset_id":"215454","hero_url":"https://thejm.netx.net//file/asset/215454/view/232466/view_232466?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/215454/view/232530/view_232530?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/215454/view/232498/view_232498?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/215454/view/232467/view_232467?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"38785639665649846243","mod_date":null},{"asset_id":"215453","hero_url":"https://thejm.netx.net//file/asset/215453/view/232514/view_232514?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/215453/view/232526/view_232526?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/215453/view/232478/view_232478?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/215453/view/232464/view_232464?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":334,"version_hash":"414029424678210173243","mod_date":null}],"artist":{"id":510689,"bio":null,"name":"Happy Jack (born Angokwazhuk), Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory","slug":"happy-jack-born-angokwazhuk-inupiaq-b-circa-1870-d-1918-nome-alaska-territory","name_only":"Happy Jack (born Angokwazhuk)","name_bio_only":"Inupiaq, b. circa 1870; d. 1918, Nome, Alaska Territory","artist_wiki_data_id":"Q90967030","artist_wiki_data_title":"Happy Jack","artist_getty_ulan_id":"500117063","artist_getty_note":""}},{"tms_object_id":"17500","title":"Torah Finials","slug":"17500-torah-finials","object_title":null,"object_name":"Torah Finials","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"JM 20-64a-b","all_artists":[{"role":"Artist/Maker","name":"S I C","name_only":"S I C","bio_only":""}],"all_artists_compressed":"S I C (Artist/Maker)","alpha_sort":"C, S I","all_terms":[{"term":"Highlight"},{"term":"Metalwork"},{"term":"Torah Ornament"}],"all_terms_compressed":"Highlight, Metalwork, Torah Ornament","all_terms_compressed_searchable":"|||Highlight|||,|||Metalwork|||,|||Torah Ornament|||","all_titles":null,"city":" Mantova","cities":[{"name":"Mantova"}],"continents":[{"name":"Europe"}],"copyright":null,"countries":[{"name":"Italy"}],"credit_line":"Gift of Samuel and Lucille Lemberg","culture":"Mantua (Mantova, Italy)","date_made":"early 18th century","date_range":"1800-1849","geo_combined":" Mantova,  Mantova,  Lombardy,  Italy,  Europe","department":"Judaica","dimensions":"Each: 21 1/2 × 5 1/2 in. (54.6 × 14 cm)","earliest_date":"1800","inscription":null,"latest_date":"1850","marks":"Hallmarks:  City: Tardy, \"International Hallmarks on Silver Collected by Tardy\" (Paris, 1985, English ed.) p.289, third row, third from right\r\n\r\nMaker:  \"SIC\" in circle with dot above; unclear mark (quartered coat of arms containing heraldic animals).\r\n\r\n\r\n","medium":"Silver: cast, repoussé, and engraved","on_view":"1","political_regions":[{"name":"Mantova"}],"primary_artist":"S I C","provenance_project":"0","provenance":null,"pub_ex_entry":"     In the Cathedral of Palma de Majorca rest the oldest known pair of Torah finials, their possession by the church a vivid reminder of the Expulsion of the Jews from Spanish and Portuguese territories in the 1490s.\r\n     The earliest finials date to the fifteenth century. Some aspects of their decoration, like the horseshoe arches, are local features that recall the age of Muslim rule on the Iberian Peninsula and the hybrid Mudejar art that developed as a result. Viewed from the perspective of later Judaica the most significant feature of the rimmonim is their tower form, clear evidence of a Spanish tradition underlying the appearance of the same type in centers to which the Sephardim fled after the Expulsion.                           Italy was one of these centers. In the sixteenth century, its ancient Jewish community was revitalized by the arrival of Sephardic Jews, who brought with them traditions of intellectual and cultural achievement, as well as unique literary and artistic genres. Secular and religious Hebrew poetry and the illumination of marriage contracts were part of the Sephardic artistic tradition, as was tower-form metalwork for both synagogues and home use. Another Spanish usage transferred by Sephardic Jews to their new homes was the custom of decorating the corners of the reader's desk in the synagogue with finials similar to those used to ornament the staves of Torah scrolls. The large size of these finials and their very heavy weight suggest that they were used on a reader's desk rather than on a Torah.\r\n     The body of each rimmonim is a three-storied hexagonal tower. Torus moldings mark the base and entablature of each story, and spiral pilasters are set on every corner. A balustrade runs in front of each story; its corners support urns of flowers set on scroll-shaped bases. The result is a complex architectural form that projects forward in space on several levels. The basic form is, however, obscured by urns filled with cast flowers and other applied ornaments that fill the arches, hide the balustrade, and overlay the spiral pilasters. The largest urn and flower ensemble serves as a finial.\r\n     The blurred outline that results, the obscuring of the boundaries of the object, and the richness of ornament find parallels in other Italian Baroque metalwork. A pair of lavish multistoried candlesticks made in Rome in the mid-eighteenth century show these same characteristics as well as three-dimensional floral elements and clipeus motifs found on these rimmonim.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 112-113.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 112-113.\r\n\r\nGrafman, Rafi. CROWNING GLORY: SILVER TORAH ORNAMENTS OF THE JEWISH MUSEUM, NEW YORK. New York: The Jewish Museum, 1996, p. 46, 237, 239.\r\n\r\nGutmann, J. JEWISH CEREMONIAL ART. New York: T. Yoseloff, 1964, pl. 2.\r\n\r\nThe Jewish Museum. THE JEWISH MUSEUM AT 75. Commemorative album. New York: The Jewish Museum, New York, 1980, p. 37.\r\n\r\nThe Jewish Museum. LOAN EXHIBIT OF ANTIQUE CEREMONIAL OBJECTS AND PAINTINGS FROM THE COLLECTION OF MR. M. ZAGAYSKI. Exh. cat. New York: The Jewish Museum, 1951, no. 1.\r\n\r\nKayser, Stephen, and Guido Schoenberger, eds. JEWISH CEREMONIAL ART, 2nd ed. Philadelphia: Jewish Publication Society of America, 1959, no. 22.\r\n\r\nKleeblatt, Norman L. \u0026 Dr. Vivian B. Mann. TREASURES OF THE JEWISH MUSEUM. New York: The Jewish Museum, 1986, pp. 88-89. \r\n\r\nMakover, Sharon J. THE JEWISH PATRONS OF VENICE. Exh. cat. New York: The Jewish Museum, 1985, no. 9.\r\n\r\nMann, Vivian B., ed. GARDENS AND GHETTOS: THE ART OF JEWISH LIFE IN ITALY.  New York: The Jewish Museum, 1989, no. 194, p. 295.\r\n\r\nParke-Bernet Galleries. THE MICHAEL M. ZAGAYSKI COLLECTION OF RARE JUDAICA.  Sale cat. New York: Parke-Bernet Galleries, 1964, no. 293.\r\n\r\nSchoenberger, Guido and Tom Freudenheim. THE SILVER AND JUDAICA COLLECTION OF MR. AND MRS. MICHAEL M. ZAGAYSKI. Exh. cat. New York: The Jewish Museum, 1963, no. 3.","regions":null,"signed":"0","state":" Lombardy","states":[{"name":"Lombardy"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":"https://soundcloud.com/thejewishmuseum/pair-of-finials-mantua-italy?in=thejewishmuseum/sets/permanent-collection","related_blog":"https://stories.thejewishmuseum.org/the-most-popular-works-of-2018-in-the-jewish-museum-online-collection-60c63528234b","educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, November 23, 1999-July 19, 2002.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, April 28, 2003-February 12, 2017. \r\n\r\nThe Museum of Fine Arts, Houston, Texas, BEAUTY AND RITUAL: JUDAICA FROM THE JEWISH MUSEUM, NEW YORK, July 10-September 18, 2022.\r\n\r\nCleveland Museum of Art, Cleveland, Ohio, [installed in their permanent collection galleries], May 23, 2024–May 18, 2025.\r\n\r\nThe Jewish Museum, New York, IDENTITY, CULTURE, AND COMMUNITY: STORIES FROM THE COLLECTION OF THE JEWISH MUSEUM, October 24, 2025–present.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1964-06-15","object_images":[{"asset_id":"34874","hero_url":"https://thejm.netx.net//file/asset/34874/view/53826/view_53826?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/34874/view/53825/view_53825?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/34874/view/53824/view_53824?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/34874/view/53823/view_53823?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":373,"height":500,"version_hash":"3258816238162845243","mod_date":null}],"artist":{"id":508760,"bio":null,"name":"S I C","slug":"s-i-c","name_only":"S I C","name_bio_only":"","artist_wiki_data_id":"","artist_wiki_data_title":"","artist_getty_ulan_id":"","artist_getty_note":""}},{"tms_object_id":"34036","title":"Praying Figure","slug":"34036-praying-figure","object_title":null,"object_name":"Praying Figure","sub_category":"Decorative Arts","searchable_sub_category":"decorative-arts","accession_number":"2012-28","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Folk"},{"term":"Highlight"},{"term":"Prayer"}],"all_terms_compressed":"Folk, Highlight, Prayer","all_terms_compressed_searchable":"|||Folk|||,|||Highlight|||,|||Prayer|||","all_titles":null,"city":null,"cities":null,"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of Sylvia Zenia Rosen Wiener","culture":"United States","date_made":"late 19th-early 20th century","date_range":"1850-1899","geo_combined":" United States,  North and Central America","department":"Judaica","dimensions":"10 7/8 × 6 1/2 × 5 in. (27.6 × 16.5 × 12.7 cm)","earliest_date":"1875","inscription":"None","latest_date":"1925","marks":"None","medium":"Painted iron","on_view":"0","political_regions":null,"primary_artist":null,"provenance_project":"0","provenance":null,"pub_ex_entry":"A spring at the bottom enables this figure to rock back and forth, simulating the traditional motion of Jewish prayer. It may have been inspired by nineteenth-century secular balancing toys and Jewish figures in popular prints. Its purpose is enigmatic—whether it was intended for a Jewish or a non-Jewish audience is unknown.","pub_ex_remarks":"The Jewish Museum, New York, SCENES FROM THE COLLECTION, TAXONOMIES, January 21, 2018-present.","pub_references":null,"regions":null,"signed":"1","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/scenes-from-the-collection","exhibitions":"The Jewish Museum, New York, SCENES FROM THE COLLECTION, TAXONOMIES, January 21, 2018-May 27, 2024.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"2012-07-26","object_images":[{"asset_id":"32833","hero_url":"https://thejm.netx.net//file/asset/32833/view/58730/view_58730?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/32833/view/58729/view_58729?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/32833/view/58728/view_58728?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":314,"height":500,"version_hash":"3213622441282592243","mod_date":null}],"artist":null},{"tms_object_id":"18568","title":"Casket Casket with Zodiac Signs and Other Motifs","slug":"18568-casket-casket-with-zodiac-signs-and-other-motifs","object_title":"Casket with Zodiac Signs and Other Motifs","object_name":"Casket","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"JM 35-66a","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Birth"},{"term":"High Holy Days"},{"term":"Highlight"},{"term":"Medieval"},{"term":"Zodiac and Astrological Symbols"}],"all_terms_compressed":"Birth, High Holy Days, Highlight, Medieval, Zodiac and Astrological Symbols","all_terms_compressed_searchable":"|||Birth|||,|||High Holy Days|||,|||Highlight|||,|||Medieval|||,|||Zodiac and Astrological Symbols|||","all_titles":"Casket with Zodiac Signs and Other Motifs","city":null,"cities":null,"continents":[{"name":"Europe"}],"copyright":null,"countries":[{"name":"Germany"}],"credit_line":"Gift of Mr. and Mrs. Norman Zeiler in memory of Mrs. Nana Zeiler","culture":"Germany","date_made":"15th–16th century, later additions 1737/38","date_range":"1000-1499","geo_combined":" Germany,  Europe","department":"Judaica","dimensions":"2 1/2 × 9 1/2 × 1 13/16 in. (6.4 × 24.1 × 4.6 cm)","earliest_date":"1400","inscription":null,"latest_date":"1738","marks":null,"medium":"Fruitwood: carved and painted","on_view":"0","political_regions":null,"primary_artist":null,"provenance_project":"0","provenance":null,"pub_ex_entry":"The entire surface of this small wooden casket is covered with carved decoration. Zodiac signs in roundels surrounded by decorative motifs range along the front and back. There are single birds carved on the end panels, and four of the five cover panels are filled with vine scrolls inhabited by human and animal figures. The fifth panel bears a mnemonic Hebrew inscription that signifies the blessing over circumcision, and the date, [5]498 (=1737/38). This inscription, as well as the evidence of structural alteration, together with the present contents of the box, shows that the casket was transformed into a container for circumcision implements during the eighteenth century. The remaining reliefs indicate that the box had another, prior use.\r\n     In shape and decoration, this work belongs to a group of late medieval caskets called Minnekästchen or Briefladen, which were given as love gifts, wedding presents, or New Year's gifts. Guilds and fraternal societies used similar boxes to hold important documents. The size, form, and decoration of The Jewish Museum box are closest to a painted Minnekästchen dated about 1300. However, the style of the carving of The Jewish Museum casket suggests a later date, about 1550.\r\nThe zodiac signs are the key to understanding the original purpose of the casket. When viewed from the front, the sequence starts with Libra, the sign for Tishri, the first month of the Jewish year. Further, the cycle reads from right to left, the way Hebrew is read, and nearly all the signs shown in profile are oriented from right to left. This consistency of orientation suggests that the zodiac reliefs were based on the illuminations of a Hebrew manuscript.\r\n     Zodiac cycles appear in two types of medieval Hebrew manuscripts: mahzorim (festival prayer books) and haggadot (service books for Passover). In the mahzorim, the cycle is illustrated alongside prayers for dew, and has the meaning of an orderly passage of time through the year, during which God ensures the fertility of the soil. Several later printed books with zodiac cycles contain commentaries to the illustrations, indicating that the cycle expresses the wish for a good year. By beginning the zodiac series with the sign for the first month of the Jewish year, the carver of this casket created a pictorial equivalent to the messages on other Minnekästchen wishing the owner a happy new year.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 102.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 102.\r\n\r\nMann, Vivian B. \"A Carved Mohel's Box of the Eighteenth Century and it Antecedents.\" PROCEEDINGS IF THE EIGHTH WORLD CONGRESS OF JEWISH STUDIES. Jerusalem, 1982, pp. 45-49.\r\n\r\nMann, Vivian B. A TALE OF TWO CITIES: JEWISH LIFE IN FRANKFURT AND ISTANBUL 1750-1870. New York: The Jewish Museum, 1982, no. 36, pp. 74-75.\r\n\r\nMann, Vivian B. \"A Sixteenth Century Box in the New York Jewish Museum and its Transformation.\" JOURNAL OF JEWISH ART, 9 (1983): pp. 54-60.\r\n\r\nOklahoma Museum of Art, Oklahoma City. SONGS OF GLORY : MEDIEVAL ART FROM 900-1500. Exh. cat., Oklahoma City: Oklahoma Museum of Art,1985, no. 171.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":"https://thejewishmuseum.org/exhibitions/scenes-from-the-collection","exhibitions":"The Jewish Museum, New York, A TALE OF TWO CITIES: JEWISH LIFE IN FRANKFURT AND ISTANBUL, 1750-1870, September 20, 1982-October 30, 1983. \r\n\r\nMuseum of Fine Arts, Springfield, Massachusetts, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, December 16, 1987- February 28, 1988; travelled to Columbus Museum of Art, Columbus, Ohio, September 24-November 5, 1989; The Baltimore Museum of Art, Baltimore, Mryland, November 4-December 30, 1990; Bass Museum of Art, Miami Beach, Florida, January 31-March 17, 1991, The Nelson-Atkins Museum of Art, Kansas City, Missouri,  April 21-June 9, 1991.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?\r\n\r\nIsrael Museum, Jerusalem, WRITTEN IN THE STARS: ART AND SYMBOLISM IN THE ZODIAC, March 6, 2001-October 30, 2001.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, June 1993-Winter 2001.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, April 11, 2003-June 26, 2007.\r\n\r\nThe Jewish Museum, New York, MASTERPIECES \u0026 CURIOSITIES: A MEDIEVAL AQUAMANILE, November 8, 2013-March 23, 2014.\r\n\r\nJewish Museum Berlin, Germany, BRIT MULAH, STANCES ON RITUAL CIRCUMCISION, October 24, 2014-March 1, 2015.\r\n\r\nThe Jewish Museum, New York, SCENES FROM THE COLLECTION, SIGNS AND SYMBOLS: ZODIAC, November 15, 2019-March 7, 2023.\r\n\r\nDetroit Institute of Arts, Detroit, Michigan, GUESTS OF HONOR: ART OF FAITH FROM THE JEWISH MUSEUM, NEW YORK, December 5, 2025-August 30, 2026.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"1967-01-26","object_images":[{"asset_id":"205334","hero_url":"https://thejm.netx.net//file/asset/205334/view/228937/view_228937?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205334/view/228993/view_228993?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205334/view/228884/view_228884?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205334/view/228785/view_228785?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":357,"version_hash":"239725384755410576243","mod_date":null},{"asset_id":"205333","hero_url":"https://thejm.netx.net//file/asset/205333/view/228936/view_228936?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205333/view/228992/view_228992?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205333/view/228883/view_228883?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205333/view/228783/view_228783?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":357,"version_hash":"20391949669679754243","mod_date":null},{"asset_id":"205332","hero_url":"https://thejm.netx.net//file/asset/205332/view/228935/view_228935?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205332/view/228991/view_228991?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205332/view/228882/view_228882?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205332/view/228781/view_228781?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":357,"version_hash":"15819264661368591243","mod_date":null},{"asset_id":"205331","hero_url":"https://thejm.netx.net//file/asset/205331/view/228818/view_228818?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205331/view/228823/view_228823?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205331/view/228811/view_228811?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205331/view/228782/view_228782?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":357,"version_hash":"15206814660168423243","mod_date":null},{"asset_id":"205330","hero_url":"https://thejm.netx.net//file/asset/205330/view/228934/view_228934?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205330/view/228990/view_228990?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205330/view/228881/view_228881?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205330/view/228780/view_228780?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":357,"version_hash":"20141307469249694243","mod_date":null},{"asset_id":"205329","hero_url":"https://thejm.netx.net//file/asset/205329/view/228933/view_228933?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/205329/view/228942/view_228942?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/205329/view/228880/view_228880?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/205329/view/228779/view_228779?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":357,"version_hash":"21386360071359989243","mod_date":null},{"asset_id":"35041","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":500,"height":294,"version_hash":"4525972629755069243","mod_date":null}],"artist":null},{"tms_object_id":"28304","title":"Untitled (Self-Portrait with Camera)","slug":"28304-untitled-self-portrait-with-camera","object_title":"Untitled (Self-Portrait with Camera)","object_name":null,"sub_category":"Photographs","searchable_sub_category":"photographs","accession_number":"2004-16","all_artists":[{"role":"Artist/Maker","name":"Man Ray (born Emmanuel Radnitzky), b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France","name_only":"Man Ray (born Emmanuel Radnitzky)","bio_only":"b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France"}],"all_artists_compressed":"Man Ray (born Emmanuel Radnitzky), b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France (Artist/Maker)","alpha_sort":"Man Ray","all_terms":[{"term":"Highlight"},{"term":"Notable Figure"},{"term":"Self-Portrait"}],"all_terms_compressed":"Highlight, Notable Figure, Self-Portrait","all_terms_compressed_searchable":"|||Highlight|||,|||Notable Figure|||,|||Self-Portrait|||","all_titles":"Untitled (Self-Portrait with Camera)","city":" Paris","cities":[{"name":"Paris"}],"continents":[{"name":"Europe"}],"copyright":"© Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP,  Paris 2014","countries":[{"name":"France"}],"credit_line":"Purchase: Photography Acquisitions Committee Fund, Horace W. Goldsmith Fund, and Gift of Judith and Jack Stern","culture":null,"date_made":"1930, printed c. 1935","date_range":"1900-1949","geo_combined":" Paris,  France,  Europe","department":"Fine Arts","dimensions":"4 3/4 × 3 1/2 in. (12.1 × 8.9 cm)","earliest_date":"1930","inscription":"None","latest_date":"1936","marks":"Verso, LR corner in ink/stamp: Man Ray/31 bis, rue/campagne/premiere/paris xiv e\r\nVerso, UR corner in graphite: rmg13094\r\nVerso (on matting) upper center in red ink: 1900 2000/704","medium":"Solarized gelatin silver print","on_view":"0","political_regions":null,"primary_artist":"Man Ray (born Emmanuel Radnitzky), b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France","provenance_project":"0","provenance":"the artist. ? Lucien Treillard, Paris; Treillard sold to Marcel and David Fleiss of Galerie 1900-2000, Paris, early 1990s; Galerie 1900-2000 sold to private collector, New York, c. 1995; sold to private collector through agent Robert Mann Gallery, New York, 2002; sold to the Jewish Museum through Robert Mann Gallery, 2004","pub_ex_entry":"Man Ray's self-portrait exemplifies the analytical manner in which the artist, like Marcel Duchamp, realized the artifice of identity in exploring and shaping his own persona. Solarized and luminous, Man Ray here projects his self-confidence and the successful professional status that he had achieved in Paris by the 1930s.","pub_ex_remarks":"The Jewish Museum, New York, COLLECTIVE PERSPECTIVES: NEW ACQUISITIONS CELEBRATE THE CENTENNIAL, November 6, 2004 - March 6, 2005.","pub_references":"D'Allesandro, Stephanie, and Pinson, Stephen C. MAN RAY: WHEN OBJECTS DREAM. Exh. cat. New Haven and London: Yale University Press, 2025, p. 271, 306.\r\n\r\nPalazzo delle esposizioni. MAN RAY: L'OCCHIO E IL SUO DOPPIO. Rome: Assessorato antichità belle arti e problemi della cultura, 1975, p. 53.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":"http://s3.amazonaws.com/tjmassets/programs_educator_resources_pdf/2_Unit_1-Self-Portraits_PortraitureIdentity_CG_Web_FA.pdf","subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/scenes-from-the-collection","exhibitions":"The Jewish Museum, New York, COLLECTIVE PERSPECTIVES: NEW ACQUISITIONS CELEBRATE THE CENTENNIAL, November 6, 2004-March, 6, 2005.\r\n\r\nThe Jewish Museum, New York, ALIAS MAN RAY: THE ART OF REINVENTION, November 15, 2009-March 13, 2010.\r\n\r\nNational Portrait Gallery, London, MAN RAY PORTRAITS, February 7-May 27, 2013; traveled to Scottish National Portrait Gallery, Edinburgh, June 22-September 7, 2013.\r\n\r\nThe Jewish Museum, New York, SCENES FROM THE COLLECTION, PERSONAS: SELF-PORTRAITS, January 21-July 18, 2018.\r\n\r\nVirginia Museum of Fine Arts, Richmond, Virginia, MAN RAY: THE PARIS YEARS, October 30, 2021-February 21, 2022.\r\n\r\nMetropolitan Museum of Art, New York, MAN RAY: WHEN OBJECTS DREAM, September 8, 2025–February 1, 2026.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":"2004-02-17","object_images":[{"asset_id":"31676","hero_url":"https://thejm.netx.net//file/asset/31676/view/59438/view_59438?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/31676/view/59437/view_59437?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/31676/view/59436/view_59436?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":384,"height":500,"version_hash":"2941573235742742243","mod_date":null}],"artist":{"id":510412,"bio":null,"name":"Man Ray (born Emmanuel Radnitzky), b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France","slug":"man-ray-born-emmanuel-radnitzky-b-1890-philadelphia-pennsylvania-d-1976-paris-france","name_only":"Man Ray (born Emmanuel Radnitzky)","name_bio_only":"b. 1890, Philadelphia, Pennsylvania; d. 1976, Paris, France","artist_wiki_data_id":"Q46139","artist_wiki_data_title":"Man Ray","artist_getty_ulan_id":"500015030","artist_getty_note":"The influential and prolific American photographer and painter adopted the pseudonym Man Ray around 1909. He was a prominent force of Dada and Surrealism, and the only American to play a significant role in the development of those movements. His visits to Alfred Stieglitz's gallery, 291 introduced him to a wide variety of European contemporary artists, such as Picasso, Rodin, and Braque. Like many other artists of his time, he was also greatly influenced by the avant-garde Armory show in New York City in 1913. His paintings from this period show his fascination with the flatness of Modernism and his interest in the patterns of shapes rather than a realistic rendering of subject matter. During his trip to Paris in 1921, Man Ray began to experiment with photography, and may have been introduced to the photogram by Tristan Tzara. He adopted the method and called his works \"rayographs,\" photographic images composed of ordinary objects placed on photo sensitive paper exposed to light. Together with his muse Lee Miller, he developed the solarization process which he used in his fashion and nude photography. With the onset of World War II, he lived in California and concentrated on painting and making objects. He returned to Paris in 1951, where he remained until his death. Man Ray was one of the first artists to make photographs seen as important works of art, equal to that of painting and sculpture."}},{"tms_object_id":"3653","title":"Dancer","slug":"3653-dancer","object_title":"Dancer","object_name":null,"sub_category":"Sculpture","searchable_sub_category":"sculpture","accession_number":"1992-37","all_artists":[{"role":"Artist/Maker","name":"Elie Nadelman, American, b. Poland, 1882-1946","name_only":"Elie Nadelman","bio_only":"American, b. Poland, 1882-1946"}],"all_artists_compressed":"Elie Nadelman, American, b. Poland, 1882-1946 (Artist/Maker)","alpha_sort":"Nadelman, Elie","all_terms":[{"term":"Dance"},{"term":"Figurative"},{"term":"Highlight"},{"term":"Sculpture"}],"all_terms_compressed":"Dance, Figurative, Highlight, Sculpture","all_terms_compressed_searchable":"|||Dance|||,|||Figurative|||,|||Highlight|||,|||Sculpture|||","all_titles":"Dancer","city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of William Rand in memory of Muriel Rand","culture":null,"date_made":"c. 1920-22","date_range":"1900-1949","geo_combined":" New York,  United States,  North and Central America","department":"Fine Arts","dimensions":"with base: 31 × 8 3/8 × 15 1/2 in. (78.7 × 21.3 × 39.4 cm)","earliest_date":"1910","inscription":"none","latest_date":"1932","marks":"none","medium":"Cherry wood","on_view":"0","political_regions":null,"primary_artist":"Elie Nadelman, American, b. Poland, 1882-1946","provenance_project":"0","provenance":"by 1948 Dr. and Mrs. David M. Levy, New York (exhibited at the Museum of Modern Art, New York); donated to United Jewish Appeal, New York; UJA benefit auction, 1949, sold to a private collection, New York; by 1975, to William and Muriel Rand, New York; donated to the Jewish Museum, 1992","pub_ex_entry":"Elie Nadelman's iconic wood figures draw together classical forms influenced by Greek, Egyptian, and Renaissance sculpture with subjects and materials derived from American folk art. This confluence of high and low culture procured disdain in Nadelman's own day, yet today his genre figures are recognized as icons of modern American sculpture.\r\n \r\nBorn in Warsaw, Nadelman went in 1904 to Munich, where he saw fifth-century B.C.E. pediment sculptures from the temple at Aegina at the Glyptothek as well as polychrome late Gothic German sculptures and seventeenth- and eighteenth-century dolls at the Bavarian National Museum, all of which had an impact on his artistic style. The following year, he moved to Paris, where he became part of Leo and Gertrude Stein's artistic circle, meeting modern artists such as Pablo Picasso as well as critics, gallery owners, and collectors. During his seven years in Paris, he began sculpting in a classical style, and his drawings and figures were exhibited in several Salons d'Autumne and Salons des Indépendants, as well as the famous 1913 Armory Show in New York.\r\n \r\nAt the beginning of World War I, Nadelman went to America, where his classical heads and figures were very popular. Soon after his arrival, he married an heiress, and they began to collect American folk art, hoping someday to create a museum of their collection. Folk art, often made of painted wood and other quotidian materials, took as its subject the daily lives of common people. Nadelman began incorporating these themes into his cherry-wood works of 1918-24, with subjects such as a circus performer, a woman at a piano, and three versions of the sculpture Dancer, two painted and one unpainted. Most of his wood and plaster sculptures of this period were painted with color to delineate clothing and facial features. The Jewish Museum's unpainted Dancer retains the commonly held notion of classicism of his earlier unpainted wood and marble heads, although he may have intended to paint it as a variation of the other Dancer figures.\r\n \r\nNadelman's interest in popular culture extended beyond folk art to American vaudeville and circus. In his studio, he kept a photograph of the vaudeville dancer Eva Tanguay posed in a position similar to that of the Dancer sculpture. He also made a drawing entitled High Kicker (about 1917-19), perhaps of Tanguay. An additional source may have been the well-known painting Le Chahut (1890), by Georges Seurat, which depicts French can-can dancers kicking up their legs much like Dancer.\r\n \r\nNadelman's genre sculptures received harsh criticism from a public that had previously revered his classical works. His sculptures depicting contemporary life-from vaudeville performers to bourgeois types-were ridiculed by critics who felt that the artist was mocking high society. His chosen material, cherry wood, and his choice to paint many of the works may have irritated an audience that expected the restrained classicism of his earlier marble heads. Despite the criticism, Nadelman continued to work in this style, and his stylized genre sculptures were regarded as his best work only after his death.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 214-215.","pub_references":"Armstrong, Tom, and Wayne Craven, et. al. 200 YEARS OF AMERICAN SCULPTURE. exh. cat. New York: Whitney Museum of American Art, 1976, p. 146.\r\n\r\nBerger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 214-215.\r\n\r\nHofer, Margaret K., Roberta J. M. Olson, and Kenneth L. Ames. MAKING IT MODERN: THE FOLK ART COLLECTION OF ELIE AND VIOLA NADELMAN. London: D Giles Limited, 2015.\r\n\r\nKirstein, Lincoln.  THE SCULPTURE OF ELIE NADELMAN. exh. cat. New York: Museum of Modern Art, 1948, p. 33, illus., cat. no. 19.\r\n\r\nMann, Vivian B., and Emily D. Bilski. THE JEWISH MUSEUM: NEW YORK. London: Scala Books, 1993, p. 106.\r\n\r\nMenconi, Susan E.\tUNCOMMON SPIRIT : SCULPTURE IN AMERICA, 1800-1940. exh. cat. New York: Hirschl \u0026 Adler, 1989, pp. 66-67, illus. cover.\r\n\r\nRamljak, Suzanne.  ELIE NADELMAN: CLASSICAL FOLK, exh. cat. New York: American Federation for the Arts, 2001, p. 69, illus.","regions":null,"signed":"1","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":"https://soundcloud.com/thejewishmuseum/dancer-elie-nadelman?in=thejewishmuseum/sets/permanent-collection","related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"Museum of Modern Art, New York, THE SCULPTURE OF ELIE NADELMAN, October 5–November 28, 1948.\r\n\r\nWhitney Museum, New York, 200 YEARS OF AMERICAN SCULPTURE, March 16-September 26, 1976.\r\n\r\nHirschl \u0026 Adler, New York, UNCOMMON SPIRIT : SCULPTURE IN AMERICA, 1800-1940, April 22-June 9, 1989.\r\n\r\nHigh Museum of Art, Atlanta, Georgia, RINGS: FIVE PASSIONS IN WORLD ART, Summer 1996.\r\n\r\nMarion Koogler McNay Art Museum, San Antonio, TX.  ELIE NADELMAN: CLASSICAL FOLK, June 12-August 19, 2001; travelled to The Frick Art and Historical Center, Pittsburgh, PA.  September 21-December 30, 2001.\r\n\r\nWhitney Museum, New York, New York, ELIE NADELMAN, March 15-July  30, 2003.\r\n\r\nThe Jewish Museum, New York, MY AMERICA: ART FROM THE JEWISH MUSEUM COLLECTION, 1900-1955, March 26-July 25, 2004; travel to Columbia Museum of Art, Columbia, South Carolina, January 26-May 7, 2006; Judah Magnes Museum, Berkeley, California, June 3 - September 24, 2006; Memorial Art Gallery, Rochester, New York, October 21 - December 24, 2006.\r\n\r\nAlbuquerque Museum of Art and History, Albuquerque, NM [organized by the New York Historical Society], THE FOLK ART COLLECTION OF ELIE NADELMAN: MAKING IT MODERN, September 6- November 29, 2015. \r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, January 19-May 2016.\r\n\r\nNew York Historical Society, New York, THE FOLK ART COLLECTION OF ELIE NADELMAN: MAKING IT MODERN, May 13- August 21, 2016.\r\n\r\nKunstmuseen Krefeld, Kaiser Wilhelm Museum, Krefeld, Germany, FOLKLORE AND AVANT-GARDE: THE RECEPTION OF POPULAR TRADITIONS IN THE AGE OF MODERNISM, November 10, 2019-Febraury 23, 2020.","alternate_object_names":"High-Kicker","alternate_constituent_name":null,"accession_date":"1992-06-25","object_images":[{"asset_id":"35981","hero_url":"https://thejm.netx.net//file/asset/35981/view/60366/view_60366?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/35981/view/60365/view_60365?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/35981/view/60364/view_60364?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/35981/view/60363/view_60363?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":249,"height":500,"version_hash":"3498521448392409243","mod_date":null},{"asset_id":"35980","hero_url":"https://thejm.netx.net//file/asset/35980/view/60362/view_60362?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/35980/view/60361/view_60361?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/35980/view/60360/view_60360?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/35980/view/60359/view_60359?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":249,"height":500,"version_hash":"3498514248392409243","mod_date":null},{"asset_id":"35979","hero_url":"https://thejm.netx.net//file/asset/35979/view/60358/view_60358?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/35979/view/60357/view_60357?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/35979/view/60356/view_60356?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/35979/view/60355/view_60355?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":249,"height":500,"version_hash":"3498518848392409243","mod_date":null},{"asset_id":"30243","hero_url":"https://thejm.netx.net//file/asset/30243/view/60354/view_60354?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/30243/view/60353/view_60353?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/30243/view/60352/view_60352?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/30243/view/60351/view_60351?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":249,"height":500,"version_hash":"3499018848392409243","mod_date":null}],"artist":{"id":508642,"bio":null,"name":"Elie Nadelman, American, b. Poland, 1882-1946","slug":"elie-nadelman-american-b-poland-1882-1946","name_only":"Elie Nadelman","name_bio_only":"American, b. Poland, 1882-1946","artist_wiki_data_id":"Q1288595","artist_wiki_data_title":"Elie Nadelman","artist_getty_ulan_id":"500032388","artist_getty_note":"Comment on works: sculptor; painter"}},{"tms_object_id":"20447","title":"Torah Crown","slug":"20447-torah-crown","object_title":null,"object_name":"Torah Crown","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"JM 85-69","all_artists":[{"role":"Artist/Maker","name":"Moshe Zabari, b. 1935, Jerusalem; d. 2025, Israel","name_only":"Moshe Zabari","bio_only":"b. 1935, Jerusalem; d. 2025, Israel"}],"all_artists_compressed":"Moshe Zabari, b. 1935, Jerusalem; d. 2025, Israel (Artist/Maker)","alpha_sort":"Zabari, Moshe","all_terms":[{"term":"Contemporary Judaica"},{"term":"Highlight"},{"term":"Metalwork"},{"term":"Modernism"},{"term":"Torah Ornament"}],"all_terms_compressed":"Contemporary Judaica, Highlight, Metalwork, Modernism, Torah Ornament","all_terms_compressed_searchable":"|||Contemporary Judaica|||,|||Highlight|||,|||Metalwork|||,|||Modernism|||,|||Torah Ornament|||","all_titles":null,"city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":null,"countries":[{"name":"United States"}],"credit_line":"Gift of the Albert A. List Family\r\n","culture":"New York, New York, United States","date_made":"1969","date_range":"1950-1999","geo_combined":" New York,  New York,  United States,  North and Central America","department":"Judaica","dimensions":"16 × 14 1/2 × 8 7/8 in. (40.6 × 36.8 × 22.5 cm)","earliest_date":"1969","inscription":null,"latest_date":"1969","marks":null,"medium":"Silver: raised and forged; pearls on strings","on_view":"1","political_regions":null,"primary_artist":"Moshe Zabari, b. 1935, Jerusalem; d. 2025, Israel","provenance_project":"0","provenance":null,"pub_ex_entry":"     This is not a Torah crown of the usual form, modeled on the regalia of kings and queens; the artist eschewed any association with crowns that were meant to be worn. Still, this work is a Torah crown in the sense that it is a unified ornament that encompasses both the staves of the Torah scroll and that includes some references to the traditional type of crown. Like the older examples, Zabari's work is a three-dimensional form that circumscribes space. Its three-dimensionality is underscored by pendant pearls, which establish successive points from which to measure the space defined by the form. When the crown is carried in procession, the pearls shake and the silver curves quiver to lend the kinetic sense that was conveyed on older crowns by pendant bells. \r\n\r\n     In the purity of its forms, in its emphasis on the beauty of materials, and in its avoidance of extraneous decoration, the Zabari crown conforms to the modernist aesthetic. It is also a totally modern work in its emphasis on function. Whereas on older crowns, the utilitarian tubes that fit the crown to the staves of the Torah are hidden beneath an ornamental exterior, on the Zabari crown they are in the open, an important element of the design. They draw attention to the staves, known in Hebrew as \"trees of life,\" which, to the artist, are an important part of the Torah, second only to the parchment. He sees the crown as an ornament for the staves as much as an ornament for the scroll. \r\n\r\n     The exuberant curves of the Zabari crown link it to decorative arts of the 1950s and 1960s, when curved, organic forms dominated. At the same time, they express the sense of celebration traditionally associated with crowns, which are used in the larger world at times of pomp and circumstance and in many synagogues only on festivals. In recognition of the joyful character of the holidays, the crown replaced the finials used week after week, on ordinary Sabbaths.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 154-155.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 154-155.\r\n\r\nFalino, Jeannine J., Jennifer Scanlan, and Glenn Adamson. CRAFTING MODERNISM: MIDCENTURY AMERICAN ART AND DESIGN. Exh. Cat. New York: Abrams, 2011.\r\n\r\nGrafman, Rafi. CROWNING GLORY: SILVER TORAH ORNAMENTS OF THE JEWISH MUSEUM, NEW YORK. New York: The Jewish Museum, 1996, pp. 287, 289.\r\n\r\nMann, Vivian B. and Norman Kleeblatt. TREASURES OF THE JEWISH MUSEUM.  New York: Universe Books, 1986, pp. 194-195.\r\n\r\n","regions":null,"signed":"0","state":" New York","states":[{"name":"New York"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"Museum of Fine Arts, Springfield, Massachusettes, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, December 16, 1987-February 28, 1988.\r\n\r\nColumbus Museum of Art, Columbus, Ohio, TREASURES OF THE JEWISH MUSEUM, September 24-November 5, 1989; traveled to Baltimore Museum of Art, Baltimore, Maryland, November 4-December 30, 1990; traveled to Bass Museum of Art, Miami Beach, Florida, January 31-March 17, 1991; traveled to Nelson-Atkins Museum of Art, Kansas City, Missouri,  April 21-June 9, 1991.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?; June, 1993-July, 18 2002; April 28, 2003-September 26, 2011.\r\n\r\nMuseum of Arts and Design, New York, CRAFTING MODERNISM: MID-CENTURY AMERICAN ART AND DESIGN, October 11, 2011-January 15, 2012; traveled to Memorial Art Gallery, Rochester, New York, February 25-May 20, 2012.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, June 6, 2012-February 12, 2017.\r\n\r\nThe Museum of Fine Arts, Houston, Texas, BEAUTY AND RITUAL: JUDAICA FROM THE JEWISH MUSEUM, NEW YORK, July 10-September 18, 2022.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"201219","hero_url":"https://thejm.netx.net//file/asset/201219/view/227723/view_227723?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/201219/view/227715/view_227715?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/201219/view/227706/view_227706?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":null,"primary":"1","width":0,"height":0,"version_hash":"496596306813710171243","mod_date":null},{"asset_id":"52006","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":389,"height":500,"version_hash":"4242565236912872243","mod_date":null}],"artist":{"id":510374,"bio":null,"name":"Moshe Zabari, b. 1935, Jerusalem; d. 2025, Israel","slug":"moshe-zabari-b-1935-jerusalem-d-2025-israel","name_only":"Moshe Zabari","name_bio_only":"b. 1935, Jerusalem; d. 2025, Israel","artist_wiki_data_id":"Q21521394","artist_wiki_data_title":"Moshe Zabari","artist_getty_ulan_id":"500339654","artist_getty_note":""}},{"tms_object_id":"12997","title":"Medal of Gracia Nasi the Younger","slug":"12997-medal-of-gracia-nasi-the-younger","object_title":"Medal of Gracia Nasi the Younger","object_name":null,"sub_category":"Coins \u0026 Medals","searchable_sub_category":"coins-medals","accession_number":"FB 77","all_artists":[{"role":"Artist/Maker","name":"Pastorino di Giovan Michele de' Pastorini, c. 1508-1592","name_only":"Pastorino di Giovan Michele de' Pastorini","bio_only":"c. 1508-1592"}],"all_artists_compressed":"Pastorino di Giovan Michele de' Pastorini, c. 1508-1592 (Artist/Maker)","alpha_sort":"de' Pastorini, Pastorino di Giovan Michele","all_terms":[{"term":"Highlight"},{"term":"Historical"},{"term":"Medal"},{"term":"Portrait"},{"term":"Renaissance"}],"all_terms_compressed":"Highlight, Historical, Medal, Portrait, Renaissance","all_terms_compressed_searchable":"|||Highlight|||,|||Historical|||,|||Medal|||,|||Portrait|||,|||Renaissance|||","all_titles":"Medal of Gracia Nasi the Younger","city":" Ferrara","cities":[{"name":"Ferrara"}],"continents":[{"name":"Europe"}],"copyright":null,"countries":[{"name":"Italy"}],"credit_line":"Gift of the Samuel and Daniel M. Friedenberg Collection","culture":"Ferrara (Italy)","date_made":"1558","date_range":"1500-1599","geo_combined":" Ferrara,  Ferrara,  Italy,  Europe","department":"Judaica","dimensions":"Diameter: 2 5/8 in. (6.6 cm)","earliest_date":"1558","inscription":"Hebrew: \"Gracia Nasi\"\r\nLatin: \"A[nno] AE[tas] XVIII\" (In the year of her age eighteen)","latest_date":"1558","marks":null,"medium":"Bronze: cast","on_view":"0","political_regions":[{"name":"Ferrara"}],"primary_artist":"Pastorino di Giovan Michele de' Pastorini, c. 1508-1592","provenance_project":"0","provenance":null,"pub_ex_entry":"This medal is the earliest known example with a Jewish subject and a Hebrew inscription as well as an extraordinary historical document of one of the most prominent Jewish families of the sixteenth century. The Gracia Nasi portrayed here (originally Beatriz Mendes Beneviste [Grácia], 1540-1596) was the young wife of Samuel Nasci (c. 1522-1569?) and niece of the older Gracia Nasi (c. 1510-1569), a woman of extraordinary wealth and a key figure in dramatic events of international importance.\r\n     In the early sixteenth century, the family resided in Portugal, one of many new Christian families that had abjured Judaism in order to remain in the country after the edict of expulsion was promulgated in 1496. In 1541, the older Gracia Nasi, known originally as Beatriz de Luna, and her sister- in-law Brianda de Luna began an international odyssey that ended when the sultan of Turkey invited the family to settle in Istanbul. Earlier, from 1546 until 1553, they lived in Venice and then in Ferrara. Samuel Nasci married the younger Gracia (Beatriz), daughter of Brianda, in Ferrara in 1557. Shortly afterward, Samuel and his wife went to the Ottoman Empire.\r\n     This uniface medal was created by Pastorino de'Pastorini in 1557-58. At left is the sitter's name in Hebrew characters, and at right is a Latin inscription \"A[nno] AE[tas] XVIII\" (in the year of her age eighteen). During the Renaissance, medals became a significant art form as men and women sought to emulate the Romans of antiquity. In imitation of antique coins bearing portraits of Roman emperors, Renaissance rulers and church officials, as well as members of the lesser nobility and the bourgeoisie, commissioned idealized likenesses that expressed their virtú (character) and glorified their personalities. Generally, the individual was depicted in a bust portrait that gave an ennobled version of his or her appearance. The surrounding inscription identifies the sitter and may give additional information, as on this example. Since Gracia Nasi, the younger, is known to have been born in 1540, the inscription giving her age as eighteen indicates a date of 1557-58 for the medal.\r\n     Pastorino de'Pastorini was a well-known medalist who produced several similar portrait medals. Many of them show the subject surrounded by a beaded border and an inscription like those seen on Gracia Nasi's medal, but no other bears a Hebrew inscription. Since Pastorino never worked outside Italy, this medal must have been commissioned before the sitter left for Istanbul in 1558.","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 207.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 207.\r\n\r\nEhrlich, M. Avrum, ed. ENCYCLOPEDIA OF THE JEWISH DIASPORA ORIGINS, EXPERIENCES, AND CULTURE. ABC-CLIO, 2008. \r\n\r\nMann, Vivian B. A TALE OF TWO CITIES: JEWISH LIFE IN FRANKFURT AND ISTANBUL 1750-1870. New York: The Jewish Museum, 1982, p. 134.\r\n\r\nMann, Vivian B., ed. GARDENS AND GHETTOS: THE ART OF JEWISH LIFE IN ITALY. Exh. cat. Berkeley: University of California Press, 1989, p. 284.\r\n\r\nSloan, Dolores. THE SEPHARDIC JEWS OF SPAIN AND PORTUGAL: SURVIVAL OF AN IMPERILED CULTURE IN THE FIFTEENTH AND SIXTEENTH CENTURIES. McFarland, 2009.\r\n","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, A TALE OF TWO CITIES: JEWISH LIFE IN FRANKFURT AND ISTANBUL, September 20, 1982-October 1983.\r\n\r\nThe Jewish Museum, New York, GARDENS AND GHETTOS: THE ART OF JEWISH LIFE IN ITALY, September 15, 1989-February 1, 1990; travelled to Ferrara, Italy, 1990. \r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, June 13, 1993-November 22, 1999.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"85614","hero_url":"https://thejm.netx.net//file/asset/85614/view/104639/view_104639?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/85614/view/104647/view_104647?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/85614/view/104627/view_104627?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/85614/view/104614/view_104614?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":"This image may not be reproduced without the expressed written consent of The Jewish Museum, New York.","primary":"1","width":500,"height":500,"version_hash":"5701373243584358243","mod_date":null},{"asset_id":"34711","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":"Photo by Richard Goodbody, Inc.\r\nThis image may not be reproduced without the expressed written consent of The Jewish Museum, New York.","primary":"0","width":500,"height":492,"version_hash":"1295403820592094243","mod_date":null}],"artist":{"id":508466,"bio":null,"name":"Pastorino di Giovan Michele de' Pastorini, c. 1508-1592","slug":"pastorino-di-giovan-michele-de-pastorini-c-1508-1592","name_only":"Pastorino di Giovan Michele de' Pastorini","name_bio_only":"c. 1508-1592","artist_wiki_data_id":"Q1121895","artist_wiki_data_title":"Pastorino dei Pastorini","artist_getty_ulan_id":"500031810","artist_getty_note":""}},{"tms_object_id":"5622","title":"Seder Plate Tiered Seder Set","slug":"5622-seder-plate-tiered-seder-set","object_title":"Tiered Seder Set","object_name":"Seder Plate","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"D 115","all_artists":[],"all_artists_compressed":null,"alpha_sort":null,"all_terms":[{"term":"Food"},{"term":"Highlight"},{"term":"Passover"}],"all_terms_compressed":"Food, Highlight, Passover","all_terms_compressed_searchable":"|||Food|||,|||Highlight|||,|||Passover|||","all_titles":"Tiered Seder Set","city":null,"cities":null,"continents":[{"name":"Europe"}],"copyright":null,"countries":[{"name":"Poland"},{"name":"Ukraine"}],"credit_line":"Gift of the Danzig Jewish Community","culture":"Eastern Galicia or western Ukraine","date_made":"18th–19th century","date_range":"1700-1799","geo_combined":" Eastern Galicia or Western Ukraine,  Ukraine,  Europe","department":"Judaica","dimensions":"13 1/8 × 15 × 14 1/2 in. (33.3 × 38.1 × 36.8 cm)","earliest_date":"1700","inscription":"Inscription: \"Hebrew\"\r\nBlessing for unleavened bread.\r\nInscription: \"Hebrew\"\r\nBlessing for bitter herbs.\r\nInscription: \"Hebrew\"\r\nTranslation: \"Thus did Hillel, at the time the Holy Temple was in existence\"\r\n","latest_date":"1899","marks":null,"medium":"Brass: cast and engraved; wood: painted and stained; ink on paper; silk: brocade; linen; cotton","on_view":"0","political_regions":[{"name":"Eastern Galicia or Western Ukraine"}],"primary_artist":null,"provenance_project":"0","provenance":"?.Lesser Gieldzinski Collection; donated to the Synagogue and Jewish Community of Danzig, 1904; transferred to Jewish Theological Seminary, New York, 1939; accessioned by the Jewish Museum, 1954","pub_ex_entry":"Jews all over the world hold a home service called a \"seder\" on the first night of Passover, and those outside the Land of Israel repeat the seder on the second night. All tell the story of the Exodus and eat symbolic foods that recall the bitterness of bondage and the haste with which the ancient Israelites began their flight to freedom. This unique seder set combines wooden trays for matzah, the unleavened bread, with wooden holders for the other symbolic foods and a pedestal for the wine cup that is always filled for the prophet Elijah, herald of the messiah.\r\nAlthough there are other nineteenth-century examples of tiered seder sets, none are similar to this one. Most are refined silver works made in Germany or Austria by trained silversmiths or are imitations in base metals. They lack the robust energy that is conveyed by this piece, with its rampant lions that stand, mouths agape, holding cartouches bearing the blessings recited over the symbolic foods. The curvature of the lions' bodies and their notched paws are echoed in the shapes of the grillwork surrounding the wooden trays. Similar brasswork appears on Eastern European Hanukkah lamps of the eighteenth and nineteenth centuries. Rampant lions often decorate the backplates of these lamps, while decorative grillwork sometimes forms an apron panel in front of the lights and on the sides. The maker of the Danzig seder set was familiar with the artistic traditions of the Hanukkah lamp. In this work, he wed familiar forms to new materials, creating a dynamic composition that rises from the dark wooden base through the open pattern on the middle zone, to the triumphant lions; the whole is crowned by the base for Elijah's cup, which would have added a further vertical accent.\r\n","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 38.\r\n","pub_references":"Skolnik, Fred, ed. ENCYCLOPEDIA JUDAICA 2nd EDITION. Gale Cengage, 2006. \r\n\r\nBerger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, p. 38.\r\n\r\nMann, Vivian B., and Emily D. Bilski. THE JEWISH MUSEUM: NEW YORK. London: Scala Books, 1993, p. 76. \r\n\r\nKleeblatt, Norman L. \u0026 Dr. Vivian B. Mann. TREASURES OF THE JEWISH MUSEUM. New York: The Jewish Museum, 1986, pp. 122-123.\r\n\r\nMann, Vivian and J. Gutmann, DANZIG 1939: TREASURES OF A DESTROYED COMMUNITY. New York: The Jewish Museum, 1980, cat. no. 51, pp. 82-83.\r\n\r\nRoth, Cecil and Bezalel Narkiss. JEWISH ART: AN ILLUSTRATED HISTORY, 2nd rev. ed. Greenwich, Connecticut: New York Graphic Society, 1971, pl. 25.\r\n\r\nKayser, Stephen S. , and Guido Schoenberger, eds. JEWISH CEREMONIAL ART: A GUIDE TO THE APPRECIATION OF ART OBJECTS USED IN SYNAGOGUE AND HOME,  PRINCIPALLY FROM THE COLLECTIONS OF THE JEWISH MUSEUM OF THE JEWISH THEOLOGICAL SEMINARY OF AMERICA, 2nd rev. ed. Philadelphia: Jewish Publication Society of America, 1959, no. 109.\r\n\r\nGieldzinski, Lesser. Katalog der alten judischen Kultusgegenstande Gieldzinski-Stiftung in der Neuen Synagoge zu Danzig. Danzig: M. Kahan, 1904, no. 81.\r\n\r\nDanzig (Germany). SAMMLUNG JÜDISCHER KUNSTGEGENSTANDE DER SYNAGOGEN-GEMEINDE ZU DANZIG. Danzig, 1933, no. 115.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, DANZIG 1939: TREASURES OF A DESTROYED COMMUNITY. March 26 - August 17, 1980, traveled to The Wichita Art Museum, Wichita, Kansas, October 5-November 16, 1980; Emory University, Robert Woodruff Library, Atlanta, Georgia, December 16, 1980-February 8, 1981; Spertus Museum of Judaica, Chicago, Illinois, March 15-May 31, 1981; B'nai Brith Klutznick Museum, Washington D.C., July 4-August 30, 1981; HUC Skirball Museum, Los Angeles, California, September 27-December 13, 1981; University of Oregon Museum of Art, Eugene, Oregon, January 10-March 7, 1982; The Harvard Semitic Museum, Cambridge, Massachusetts, April 5-June 20, 1982; Braunschweigisches Landesmuseum for History and Ethnology, Braunschweig, Germany, September 5-October 1982; Rheinisches Landesmuseum, Bonn, Germany, November-December 1982; Paulskirche, Frankfurt, Germany, January 30-February 27, 1983; Stuttgart, Germany, March 16-April 17, 1983; Beth Hatefutsoth Museum of the Jewish Diaspora, Tel Aviv, Israel, June-September 1983; University of California, University Art Museum, Berkeley, California, May 9-July 8, 1984; Joslyn Art Museum, Omaha, Nebraska, September 8-November 18, 1984; The Chrysler Museum, Norfolk, Virginia, March 6-May 10, 1987; The New York State Museum, Albany, New York, March 26-June 10, 1988; University Gallery, Memphis State University, Memphis, Tennessee, October 9-November 15, 1988?; The Vancouver Museum, Vancouver, British Columbia, Canada, May 2, 1989-July 16, 1989.\r\n\r\nThe Jewish Museum, New York, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, March 23, 1986 - August 2, 1987, traveled to Museum of Fine Arts, Springfield, Massachusettes, December 16, 1987 - February 28, 1988.\r\n\r\nPEPSICO Co. Inc., Purchase, New York, FROM SEDER TO STELLA: THE ART OF PASSOVER IN THE COLLECTIONS OF THE JEWISH MUSEUM, July 1988.\r\n\r\nThe Jewish Museum, New York, FROM SEDER TO STELLA: THE ART OF PASSOVER IN THE COLLECTIONS OF THE JEWISH MUSEUM, Spring-Summer-Fall, 1989. Adapted from the exhibition held at Pepsico.\r\n\r\nColumbus Museum of Art, Columbus, Ohio, TREASURES OF THE JEWISH MUSEUM, September 24-November 5, 1989.\r\n\r\nThe Baltimore Museum of Art, Baltimore, Maryland, TREASURES OF THE JEWISH MUSEUM, November 4-December 30, 1990.\r\n\r\nBass Museum of Art, Miami Beach, Florida, TREASURES OF THE JEWISH MUSEUM, January 31-March 17, 1991.\r\n\r\nThe Nelson-Atkins Museum of Art, Kansas City, Missouri, TREASURES OF THE JEWISH MUSEUM, April 21-June 9, 1991.\r\n\r\nThe Jewish Museum, New York, AFTERLIVES: RECOVERING THE LOST STORIES OF LOOTED ART, August 20, 2021-January 9, 2022.\r\n\r\nMorgan Library and Museum, New York, COME TOGETHER: 3000 YEARS OF STORIES AND STORYTELLING, January 30–May 3, 2026","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"92790","hero_url":"https://thejm.netx.net//file/asset/92790/view/211016/view_211016?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92790/view/211283/view_211283?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92790/view/210660/view_210660?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92790/view/210344/view_210344?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":400,"version_hash":"17888190069068632243","mod_date":null},{"asset_id":"92789","hero_url":"https://thejm.netx.net//file/asset/92789/view/211081/view_211081?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92789/view/211292/view_211292?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92789/view/210663/view_210663?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92789/view/210421/view_210421?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":400,"version_hash":"19276565671698961243","mod_date":null},{"asset_id":"92788","hero_url":"https://thejm.netx.net//file/asset/92788/view/211009/view_211009?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92788/view/211297/view_211297?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92788/view/210875/view_210875?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92788/view/210394/view_210394?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":400,"version_hash":"253479692822110276243","mod_date":null},{"asset_id":"92787","hero_url":"https://thejm.netx.net//file/asset/92787/view/211019/view_211019?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92787/view/211291/view_211291?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92787/view/210729/view_210729?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92787/view/210372/view_210372?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":400,"version_hash":"23751514879589947243","mod_date":null},{"asset_id":"92786","hero_url":"https://thejm.netx.net//file/asset/92786/view/210985/view_210985?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92786/view/211295/view_211295?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92786/view/210874/view_210874?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92786/view/210359/view_210359?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":398,"version_hash":"239090964795810013243","mod_date":null},{"asset_id":"92785","hero_url":"https://thejm.netx.net//file/asset/92785/view/211191/view_211191?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/92785/view/211306/view_211306?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/92785/view/210655/view_210655?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/92785/view/210341/view_210341?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":400,"version_hash":"23751540879589947243","mod_date":null}],"artist":null},{"tms_object_id":"31152","title":"Butterfly Boy, New York","slug":"31152-butterfly-boy-new-york","object_title":"Butterfly Boy, New York","object_name":null,"sub_category":"Photographs","searchable_sub_category":"photographs","accession_number":"2008-90","all_artists":[{"role":"Artist/Maker","name":"Jerome Liebling, American, 1924-2011","name_only":"Jerome Liebling","bio_only":"American, 1924-2011"}],"all_artists_compressed":"Jerome Liebling, American, 1924-2011 (Artist/Maker)","alpha_sort":"Liebling, Jerome","all_terms":[{"term":"Black History"},{"term":"Childhood"},{"term":"Highlight"},{"term":"New York City"},{"term":"Photo League"}],"all_terms_compressed":"Black History, Childhood, Highlight, New York City, Photo League","all_terms_compressed_searchable":"|||Black History|||,|||Childhood|||,|||Highlight|||,|||New York City|||,|||Photo League|||","all_titles":"Butterfly Boy, New York","city":" New York","cities":[{"name":"New York"}],"continents":[{"name":"North and Central America"}],"copyright":"© Jerome Liebling Photography / All Rights Reserved","countries":[{"name":"United States"}],"credit_line":"Purchase: Mimi and Barry J. Alperin Fund","culture":null,"date_made":"1949","date_range":"1900-1949","geo_combined":" New York,  New York,  United States,  North and Central America","department":"Fine Arts","dimensions":"10 5/8 × 10 in. (27 × 25.4 cm)","earliest_date":"1949","inscription":"Verso, UC in graphite, \"Knickerbocker Village / N.Y.C.\"","latest_date":"1949","marks":"\"PF 29013\" handwritten in graphite, Lower C","medium":"Gelatin silver print","on_view":"0","political_regions":null,"primary_artist":"Jerome Liebling, American, 1924-2011","provenance_project":"0","provenance":"the artist. Howard Greenberg (until 2008); sold to TJM","pub_ex_entry":"This portrait of a young boy was taken near Knickerbocker Village, a public-housing complex on the Lower East Side that had replaced substandard tenements. Liebling's empathy and respect for his subject may be seen in the direct connection he establishes with the child, who stares stone-faced into the camera.","pub_ex_remarks":"The Jewish Museum, New York, THE RADICAL CAMERA: NEW YORK'S PHOTO LEAGUE, 1936-1951, November 04, 2011 - March 25, 2012.","pub_references":"Klein, Mason and Catherine Evans.  THE RADICAL CAMERA: NEW YORK’S PHOTO LEAGUE, 1936-1951.  Exh. cat.  New Haven: Yale University Press, 2011, pp. 48, 144, plate 57.\r\n\r\n","regions":null,"signed":"1","state":" New York","states":[{"name":"New York"}],"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":"https://soundcloud.com/thejewishmuseum/114-3g?in=thejewishmuseum/sets/the-radical-camera","related_blog":"https://medium.com/the-jewish-museum/saying-goodbye-in-2011-c672f93b57fe","educator_resource":"http://s3.amazonaws.com/tjmassets/programs_educator_resources_pdf/JM_PhotoLeague_CurriculumGuide.pdf","subsite":null,"exhibition_history":"http://thejewishmuseum.org/exhibitions/the-radical-camera-new-yorks-photo-league-1936-1951","exhibitions":"The Jewish Museum, THE RADICAL CAMERA: NEW YORK'S PHOTO LEAGUE, 1936-1951, November 4, 2011-March 25, 2012; traveled to Norton Museum of Art, Florida, March 14-June 16, 2013.","alternate_object_names":"Knickerbocker Village, New York (Butterfly Boy)","alternate_constituent_name":null,"accession_date":"2008-03-05","object_images":[{"asset_id":"32388","hero_url":"https://thejm.netx.net//file/asset/32388/view/57663/view_57663?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/32388/view/57662/view_57662?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/32388/view/57661/view_57661?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":null,"media_copyright_caption":"Digital image © 2008 The Jewish Museum, New York\r\nPhoto by Ardon Bar Hama","primary":"1","width":495,"height":500,"version_hash":"2364843443374294243","mod_date":null}],"artist":{"id":509043,"bio":"Born 1924, Manhattan, New York\u003cbr/\u003e\r\nDied 2011, Northampton, Massachusetts\u003cbr/\u003e\u003cbr/\u003e\r\n\r\nLiebling studied briefly at Brooklyn College (1942) and then served in the armed forces in Europe and North Africa during World War II. After the war he returned to Brooklyn College to study art and design with the painter Ad Reinhardt and photography with Walter Rosenblum. In 1947 Liebling joined the Photo League, where he studied with Paul Strand and Sid Grossman. Over the next two years he showed his work in several group exhibitions and served as membership secretary on the League's executive committee. Liebling also studied motion-picture production at the New School for Social Research (1948) and made seven films: his first in 1951, \u003ci\u003eArt and Seeing\u003c/i\u003e; and his last in 1993, \u003ci\u003eFast Eddie and the Boys\u003c/i\u003e. He taught photography and film at the University of Minnesota, Minneapolis (1949–69); SUNY, New Paltz (1957–58); Yale University (1976–77); and Hampshire College, Amherst, Massachusetts (1969–90), where he founded the film, photography, and video program. The Walker Art Center, Minneapolis (1948, 1963); George Eastman House, Rochester (1957); and the Corcoran Gallery of Art, Washington DC (1980); Smith College Museum of Art (2008); the Yale University Art Gallery (2008); and the Currier Museum of Art, New Hampshire (2011) have all presented solo exhibitions of his work. Liebling was the recipient of the New Talent USA Award (1956), two Guggenheim Foundation grants (1977, 1981), and a fellowship from the Massachusetts Council of Arts (1984). In 2006 the Museum of Television and Radio in New York (now the Paley Center for Media) paid tribute to his work as a filmmaker.","name":"Jerome Liebling, American, 1924-2011","slug":"jerome-liebling-american-1924-2011","name_only":"Jerome Liebling","name_bio_only":"American, 1924-2011","artist_wiki_data_id":"Q15462930","artist_wiki_data_title":"Jerome Liebling","artist_getty_ulan_id":"500126037","artist_getty_note":"From 1946 to 1948, Liebling studied photography at Brooklyn College, New York, under Walter Rosenblum. He also studied with Paul Strand at the Photo League, in New York City. In 1948, Liebling studied cinematography and scriptwriting at the Film Workshop at the New School of Social Research. From 1949 to 1969, he was a professor of film and photography at the University of Minnesota, in Minneapolis. In 1961, Liebling was a founding member of the Society for Photographic Education. Liebling taught photography at Yale University from 1976 to 1977."}},{"tms_object_id":"5921","title":"Esther Scroll","slug":"5921-esther-scroll","object_title":null,"object_name":"Esther Scroll","sub_category":"Ceremonial Art","searchable_sub_category":"ceremonial-art","accession_number":"D 76","all_artists":[{"role":"Engraver","name":"Salom Italia, b. Mantua, 1618/19-after 1664; active in Amsterdam","name_only":"Salom Italia","bio_only":"b. Mantua, 1618/19-after 1664; active in Amsterdam"}],"all_artists_compressed":"Salom Italia, b. Mantua, 1618/19-after 1664; active in Amsterdam (Engraver)","alpha_sort":"Italia, Salom","all_terms":[{"term":"Highlight"},{"term":"Historical"},{"term":"Purim"},{"term":"Queen Esther"}],"all_terms_compressed":"Highlight, Historical, Purim, Queen Esther","all_terms_compressed_searchable":"|||Highlight|||,|||Historical|||,|||Purim|||,|||Queen Esther|||","all_titles":null,"city":" Amsterdam","cities":[{"name":"Amsterdam"}],"continents":[{"name":"Europe"}],"copyright":null,"countries":[{"name":"Netherlands"}],"credit_line":"Gift of the Danzig Jewish Community","culture":"Amsterdam (The Netherlands)","date_made":"c. 1641","date_range":"1600-1699","geo_combined":" Amsterdam,  Amsterdam,  Netherlands,  Europe","department":"Judaica","dimensions":"7 15/16 × 98 5/8 in. (20.2 × 250.4 cm)","earliest_date":"1631","inscription":null,"latest_date":"1651","marks":null,"medium":"Pen-and-ink and print on parchment","on_view":"0","political_regions":[{"name":"Amsterdam"}],"primary_artist":"Salom Italia, b. Mantua, 1618/19-after 1664; active in Amsterdam","provenance_project":"0","provenance":null,"pub_ex_entry":"     The Book of Esther, read on the festival of Purim, recounts the escape of the Jews of Persia from annihilation during the reign of King Ahasuerus (probably Xerxes I, ruled 485-464  B.C.E.). Haman, the king's vizier, plotted to kill all the Jews in the kingdom and cast lots (purim) to determine the day of their destruction. His plan was stymied through the intervention of Esther, Ahasuerus's beautiful Jewish queen, who, guided by her uncle Mordecai, persuaded the king to save the Jews and execute the evil Haman in their place. Having triumphed over their enemies, the Jews of Persia engaged in \"days of feasting and joy,\" and it is this spirit of merrymaking that characterizes the celebration of Purim to this day when the Scroll of Esther is read in the synagogue. Congregants may follow the text in their own scrolls, which may be lavishly decorated. \r\n     The elaborate engraved borders of this scroll are the work of the Jewish artist Salom Italia, born into a family of printers in Mantua. When the Austrians invaded Mantua in 1630, Jews were forced from the city, and Salom Italia probably went to the Venetian States before settling in Amsterdam in 1641. There he found a prospering community of Jews with the means as well as the inclination to commission and collect the works of a young printmaker. \r\n     This scroll was printed from one engraving plate consisting of four arches, which was repeated five times to produce a large arcade as a frame for the text; above, each arch is crowned by a broken pediment surmounted by lions. Below are Dutch cityscapes that reflect the influence of Italia's new home. Figures from the Purim story stand flanking the arches: King Ahasuerus facing Queen Esther, and Mordecai facing Haman. Below each figure is a scene from the story, each printed from a separate plate, forming a narrative cycle of nineteen images. The only exception to this composition is the first panel, which consists of naturalistically rendered peacocks and other birds, and an empty cartouche intended to frame the blessings recited before reading the scroll. On the lip of the vase of flowers on the right, Salom Italia signed his name in Hebrew. The squirrel to the right is an element from the insignia used in Mantua by his family. \r\n     Salom Italia's great innovation and contribution to the design of Esther scrolls was setting the text within portals derived from triumphal arches. The practice of conducting triumphal processions through arches dates back to ancient Rome, and the building of temporary arches to honor rulers as they entered a city continued in Europe until the nineteenth century. By the sixteenth century, the triumphal entries of monarchs were commemorated by the publication of their iconographic programs, complete with woodcuts or engravings of the temporary arches and decorations specially created for these events. \r\n     In 1642, shortly after Italia's arrival in Amsterdam, the city mounted a magnificent triumphal entry for the stadtholder Frederik Hendrik and his in-laws, the English royal family. Italia may also have been influenced by designs for the 1638 entry of Marie de' Medici into Amsterdam (published in 1639)-for example, an arch surmounted by lions with columns similar to the ones on this scroll. Italia's figures flanking the arches stand beneath festoons of fruit suspended from masks, which appeared in the decorations for a triumphal entry into Lisbon in 1619 (published in Madrid, 1622). By using imagery from a variety of printed sources, Salom Italia achieved a perfect marriage of form and content, since the Book of Esther recounts the triumph of the Jews of Persia and includes an account of Mordecai's triumphal procession through the streets of Shushan, the capital. This episode was depicted by Rembrandt in an etching that was made in Amsterdam around 1641 and was probably known to Italia. \r\n     The original owners of this scroll would have understood the reference to triumphal entries in the decorative program. As they unrolled the scroll to follow the text, revealing one arch at a time, they would have been symbolically passing through each portal, thereby reenacting the triumph of Mordecai and of all Jews that is at the heart of the celebration of Purim. ","pub_ex_remarks":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 104-105.","pub_references":"Berger, Maurice et al. MASTERWORKS OF THE JEWISH MUSEUM. New York: The Jewish Museum, 2004, pp. 104-105.\r\n\r\nJewish Museum. DANZIG 1939: TREASURES OF A DESTROYED COMMUNITY. Exh. cat. Detroit: Published by Wayne State University Press, 1980, no. 48.\r\n\r\nKayser, Stephen S., ed. JEWISH CEREMONIAL ART: A GUIDE TO THE APPRECIATION OF THE ART OBJECTS USED IN SYNAGOGUE AND HOME, PRINCIPALLY FROM THE COLLECTIONS OF THE JEWISH MUSEUM OF THE JEWISH THEOLOGICAL SEMINARY OF AMERICA. Philadelphia: Jewish Publication Society of America, 1959. no. 9, no. 149.\r\n\r\nKleeblatt, Norman L. \u0026 Dr. Vivian B. Mann, TREASURES OF THE JEWISH MUSEUM. New York: The Jewish Museum, 1986, pp. 64-65.\r\n\r\nNarkiss, M. \"The Oeuvre of the Jewish Engraver Salom ben... Mordecai Italia\" TARBIZ  25 (1956): p. 446, ill. 2.","regions":null,"signed":"0","state":null,"states":null,"portfolio":null,"theme_descriptions":null,"recent_acquisition":"0","no_primary_image":"0","related_video":null,"related_audio":null,"related_blog":null,"educator_resource":null,"subsite":null,"exhibition_history":null,"exhibitions":"The Jewish Museum, New York, DANZIG, 1939: TREASURES OF A DESTROYED COMMUNITY, March 26-August 17, 1980; travelled to The Wichita Art Museum, Kansas, October 5-November 16 1980; Emory University, Robert Woodruff Library, Atlanta, Georgia, December 16, 1980-February 8, 1980; Spertus Museum of Judaica, Chicago, Illinois, March 15-May 31, 1981; B'nai Brith Klutznick Museum, Washington, D.C., July 4-August 30, 1981; HUC Skirball Museum, Los Angeles, California, September 27-December 13, 1981; University of Oregon Museum of Art, Eugene, Oregon, January 10-March 7, 1982; The Harvard Semitic Museum, Cambridge, Massachusetts, April 5-June 20, 1982; Braunschweigisches Landesmuseum for History and Ethnology, Braunschweig, Germany, September 5-October 1982; Rheinisches Landesmuseum, Bonn, Germany, November-December 1982; Paulskirche, Frankfurt, Germany, January 30-February 27, 1983; Stuttgart, Germany, March 16-April 17, 1983; Beth Hatefutsoth Museum of the Jewish Diaspora, Tel Aviv, Israel, June-September 1983; University of California, University Art Museum, Berkeley, California, May 9-July 8, 1984; Joslyn Art Museum, Omaha, Nebraska, September 8-November 18, 1984.\r\n\r\nThe Jewish Museum, New York, ART AND EXALTATION: TREASURES OF THE JEWISH MUSEUM, March 23, 1986-August 2, 1987. \r\n\r\nThe Chrysler Museum, Norfolk, Virginia, DANZIG, 1939: TREASURES OF A DESTROYED COMMUNITY, March 6-May 10, 1987; travelled to The New York State Museum, Albany, New York, March 26-June 10, 1988; University Gallery, Memphis State University, Tennessee, October 9-November 15, 1988?; The Vancouver Museum, British Columbia, Canada, May 2, 1989-July 16, 1989; Museum of Fine Arts, Springfield, Massachusetts, December 16, 1987-Februrary 28, 1988; The Chrysler Museum, Norfolk, Virginia, March 6-May 10, 1987; The New York State Museum, Albany, New York, March 26-June 10, 1988; University Gallery, Memphis State University, Memphis, Tennessee, October 9-November 15, 1988?; The Vancouver Museum, Vancouver, British Columbia, Canada, November 1988?-July 1989.\r\n\r\nThe Baltimore Museum of Art, Baltimore, Maryland, TREASURES OF THE JEWISH MUSEUM, November 4-December 30, 1990; travelled to Bass Museum of Art, Miami Beach, Florida, January 31-March 17, 1991; The Nelson-Atkins Museum of Art, Kansas City, Missouri, April 21-June 9, 1991.\r\n\r\nThe Jewish Museum, New York, CULTURE AND CONTINUITY: THE JEWISH JOURNEY, pre-1993?\r\n\r\nJoods Historisch Museum, Amsterdam, The Netherlands, THE TRIUMPH OF IDENTITY: THE ESTHER SCROLLS OF SALOM ITALIA, March 20-July 3, 2011.\r\n\r\nThe Jewish Museum, New York, THE BOOK OF ESTHER IN THE AGE OF REMBRANDT, March 7–August 10, 2025; travelled to North Carolina Museum of Art, Raleigh, North Carolina, September 20, 2025–March 8, 2026.","alternate_object_names":null,"alternate_constituent_name":null,"accession_date":null,"object_images":[{"asset_id":"197962","hero_url":"https://thejm.netx.net//file/asset/197962/view/225319/view_225319?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/197962/view/225323/view_225323?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/197962/view/225318/view_225318?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/197962/view/225314/view_225314?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"18758856464569684243","mod_date":null},{"asset_id":"197961","hero_url":"https://thejm.netx.net//file/asset/197961/view/225326/view_225326?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/197961/view/225330/view_225330?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/197961/view/225322/view_225322?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/197961/view/225313/view_225313?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"16058456259738960243","mod_date":null},{"asset_id":"197960","hero_url":"https://thejm.netx.net//file/asset/197960/view/225324/view_225324?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/197960/view/225328/view_225328?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/197960/view/225320/view_225320?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/197960/view/225315/view_225315?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"14895734457538629243","mod_date":null},{"asset_id":"197959","hero_url":"https://thejm.netx.net//file/asset/197959/view/225325/view_225325?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/197959/view/225329/view_225329?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/197959/view/225321/view_225321?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/197959/view/225312/view_225312?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"1","width":500,"height":334,"version_hash":"243073924734911024243","mod_date":null},{"asset_id":"197958","hero_url":"https://thejm.netx.net//file/asset/197958/view/225316/view_225316?token=921831d3-ee56-4e60-a489-5c285b802e1e","thumb_url":"https://thejm.netx.net//file/asset/197958/view/225327/view_225327?token=921831d3-ee56-4e60-a489-5c285b802e1e","header_url":"https://thejm.netx.net//file/asset/197958/view/225317/view_225317?token=921831d3-ee56-4e60-a489-5c285b802e1e","full_url":"https://thejm.netx.net//file/asset/197958/view/225311/view_225311?token=921831d3-ee56-4e60-a489-5c285b802e1e","media_copyright_caption":null,"primary":"0","width":500,"height":334,"version_hash":"254587596752111282243","mod_date":null},{"asset_id":"33120","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":446,"height":500,"version_hash":"4721935842003744243","mod_date":null},{"asset_id":"33119","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":446,"height":500,"version_hash":"9342337641783725243","mod_date":null},{"asset_id":"33117","hero_url":null,"thumb_url":null,"header_url":null,"full_url":null,"media_copyright_caption":null,"primary":"0","width":500,"height":197,"version_hash":"3375680821045344243","mod_date":null}],"artist":{"id":508266,"bio":null,"name":"Salom Italia, b. 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