2375:
Carbon Copy
Drawings adhered to unity and even uniformity of making objects or images. He transformed drawing into a three-dimensional practice Yigal Zalmona, Josef Maschek, Robert Pincus Witten and other international critics called that type of art "epistemic abstraction". Gitlin hacked plywood boards with the strategy devised by Neustein of removal and replacement. Gitlin's sculptures, however, were more architecturally oriented. Nahum Tevet's work summarized by James Trainor: The basic building blocks that comprise Tevet's formal vocabulary of sculptural units, for both his small wall works and the large, sprawling, encyclopedically heroic sculptural installations, are simple, verging on the Platonically archetypalāthe table, the chair, the box, the boat hull, the rectilinear plane, the book-like block, the framework armature, etc. As Sarit Shapira wrote: In any possible context, they identify as mutants of a territory, or as agents of de-territorialization. The quasi-modeled arrangement of these works presents what is not a model of a given production mechanism of objects, or what will always distinguish itself from such a model; at most, this is a model-proposal for a mechanism of objects that does not yet exist. For this purpose, Tevet replicates his items in limited series (the number of items replicated in each work is also limited, as is the number of times that Tevet replicates entire works or major parts of them), thus distancing them from any automatic and motoricāthat is, obedient and āblindāāreproductive mechanism.
1471:" (1939). When "Nimrod" was unveiled it became the focus of an important dispute in Mandatory Palestinian Jewish cultural circles; the sculpture depicts the figure of Nimrod, the Biblical hunter according to Jewish religious literature, as a lean youth, naked and uncircumcised, a sword clutched in his hand and a falcon on his shoulder. The sculpture harked back to the earlier cultures of the Assyrians, the Egyptians, and the Greeks, while at the same time it showed similarities to the European sculpture of the time. The sculpture expressed a combination of homoerotic beauty and pagan idolatry. This combination was at the center of criticism in religious circles in the Jewish settlement. The criticism against "Nimrod" and the Canaanites was heard not only in religious circles, which objected to the pagan and idolatrous aspects of the work, but also in secular circles among those who objected to the rejection of "Jewishness". To a significant extent "Nimrod" intensified a dispute that had existed prior to its appearance. At the same time other voices called it the new model for the "New Jewish Man". The newspaper Boker wrote in 1942 that "Nimrod is not just a sculpture. It is flesh of our flesh, spirit of our spirit. It is a milestone and it is a monument. It is the apotheosis of the vision and daring and youthful rebellion that distinguishes an entire generationā¦Nimrod will be young forever".
2249:'s connection with Lavie dates from the time he was a very young man. For a number of years Lavie was Garbuz's private teacher. Later Garbuz went from being a pupil to being a senior teacher in "The College". Garbuz's work from these years combines characteristics of the Zionist ethos, as reflected in popular culture, with political and social criticism. His two-dimensional works from the 1970s include a mix of newspaper photos, documentary photographs, texts and other objects, combined in compositions that have no clear hierarchy. Some of his works, such as "The Evenings (Arabs) Pass By Quietly" (1979) and "The Arab Village in Israel Very Much Resembles the Life of our Forefathers in Ancient Times" (1981), criticized stereotypes rampant in Israeli society. In his installation " If not a Giant Then at Least in His Garden" (1981), Garbuz created an environment saturated with photographic images, some of which are enlarged and turned into sculptures in space. Between the images are photographs of new immigrant transit camps and development towns, of a father reading the newspaper Davar to his daughter, etc. In the background a recording of a toy whistle can be heard creating the noise of a "toy forest".
2562:, whose work had been dealing with local landscapes for years, the conceptual aspect of the Israeli variation of "Land Art" was expressed. Danziger felt that there was a need for reconciliation and improvement in the damaged relationship between man and his environment. This belief led him to plan projects which combined the rehabilitation of sites with ecology and culture. The "repair" of the landscape as an artistic event was developed by Danziger in his project "The Rehabilitation of the Nesher Quarry", on the northern slopes of the Carmel Mountains. This project was created as a collaboration between Danziger, Zeev Naveh the ecologist, and Joseph Morin the soil researcher, which attempted to create, using various technological and ecological means, a new environment among the fragments of stone left in the quarry. "Nature should not be returned to its natural state", Danziger contended. "A system needs to be found to re-use the nature which has been created as material for an entirely new concept". After the first stage of the project, the attempt at rehabilitation was put on display in 1972 in an exhibit at the Israel Museum.
496:
2255:'s works of the 1970s used photography to create collages. In these works Na'aman created images which emphasized the inadequacy of descriptive language and vision, and in this way, showed the possibility for different and imaginative interpretations of visual representations. The practical implications of a debate or of an axiomatic phrase demonstrated for her the failure of descriptive language. Against the background of the visual dimension of "The Want of Matter" Style, texts written in commercial style or in handwriting appeared, reflecting the semiotic collapse of image presentation. Examples of this approach can be found in "The Loyal Fish and the Bird" (1977) or "The Message According to the Bird" (1977), in which Na'aman merges fish and bird images into hybrid monsters. In other works, such as her series "The Blue Retouching" (1975) we see a protest against society's accepted moral and esthetic principles.
2154:
601:
2410:
instead of terms like "installation" and "display", which were coined only in 1976, referred more to the intentions of the artist than to the final artistic result. Photography as well, which from the 1970s also began to be a means of expression for artists, was seen as a tool for combining images in conceptual art, and as a means for documenting installations and displays. At the same time, and in distinction from
American art of the time, only a small amount of the art created in Israel represented conceptual art that was entirely minimilistic or "concrete, " that is, art the entire reason for being of which was to negate the definition of art as representation or imitation. Among the artists whose work in part did represent this approach were
2262:'s works, we see a more personal and less intellectual approach than in the works of other students of Raffi Lavie. Many of Levin's works are made of plywood and were constructed at the end of the 1970s and the beginning of the 1980s. In these works Levin created compositions of sawed and painted plywood, often accompanied by photographs leaning up against the wall. The names of these works, such as "Bicycle" (1977) or "The Princess in the Palace" (1978), suggest a domestic connection. Even though these works are three-dimensional, their main interest lies in the complex connection between the drawing and the visible area of the work. The work "bursts out " of its frame and spreads out into space.
2213:, in the exhibit "The Want of Matter: A Quality in Israeli Art", which took place in March 1986 in the Tel Aviv Museum. The roots of this style could be found, according to her, in the wide acceptance of European and American art in Israel, especially Pop Art, Art pauvre, and Conceptual Art. These influences were expressed by the use of industrial materials, such as plywood, industrial paint, collages and assemblages, etc. Another element, which in Breitberg-Semel's opinion was no less central, was the "non-aesthetic" approach, the roots of which could allegedly be found in the Jewish tradition of talmudic studies, which places text, and not form, at the center of culture.
2605:. The group combined conceptual art and "land art" with Jewish symbolism. Of the three of them Avraham Ofek had the deepest interest in sculpture and its relationship to religious symbolism and images. In one series of his works Ofek used mirrors to project Hebrew letters, words with religious or cabbalistic significance, and other images onto soil or man-made structures. In his work "Letters of Light" (1979), for example, the letters were projected onto people and fabrics and the soil of the Judean Desert. In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture.
2732:
2454:
1938:
Israeli kibbutzim ā his series "Yehiam", and a similar series on Naan (a kibbutz in central Israel), 1950ā1952. Both these series include abstractions of the
Israeli landscape. Zvi Meirovich one of the founders of New Horizons produced a series of large oil paintings called Mizpe Ramon focousing on the Israeli deseret. Sculptor Dov Feigin produced "Wheat Sheaves" in 1956, and Dadaist Janco painted "Soldiers", "Air raid Alarms" and "Maabarot" (jerry-built communities housing new Jewish immigrants in the 1950s). Some of the New Horizons artists belonged to the "Center for Advanced Culture" run by the Socialist-Zionist youth movement "
2590:
he created temporary sculpture around trees. Like
Danziger, Tumarkin also related in these works to the life forms of popular culture, particularly in Arab and Bedouin villages, and created from them a sort of artistic-morphological language, using "impoverished" bricolage methods. Some of the works related not only to coexistence and peace, but also to the larger Israeli political picture. In works such as "Earth Crucifixion" (1981) and "Bedouin Crucifixion" (1982), Tumarkin referred to the ejection of Palestinians and Bedouins from their lands, and created "crucifixion pillars" for these lands.
2577:. Danziger suggested that the emphasis of this monument be placed on the view itself and on the creation of a site that differed from the functional quality of a memorial. This concept was implemented by using the ideas behind Bedouin and Palestinian ritual sites throughout the Land of Israel, sites in which trees are used alongside the graves of revered leaders as a ritual focus and, in Danziger's words, "bright swatches of cloth in blue and green are hung from the branches Driven by a spiritual need, people come to hang these pieces of fabric on the branches and to make a wish"
836:
2235:" style distilled its characteristics from these diverse influences, preferring painting to three-dimensional sculpture. Overall, this style can be summed up as focusing on the use of low-cost materials identified with the establishment of Israel, such as plywood, cardboard, collages photographs arranged as collages, industrial paints, and writing and scribbling within the work. The use of these materials gave an intentionally humble appearance to the surface of the paintings, a look which was meant to add a dimension of criticism by the artists toward Israeli society.
1384:
1866:
abstract", but in fact, there was little purely abstract art, but rather works rooted in the local visual landscape. This essentially figurative style was pushed toward the abstract by bold brush strokes, and a strong use of bright colors typical of the "Land of Israel" style, reflecting the strong
Mediterranean light. Formats were generally rather small, and the style was similar to European abstract art before the second World War, akin to the art of Wassily Kandinsky, and unlike the abstract art prevalent in the United States at the time.
2243:
in his work, Lavie insisted that these images were of no historical importance. Furthermore, according to Lavie and
Breitberg-Semel, the use of collages and other materials that lacked the "halo" of artistic approval, were meant to undercut and undermine the significance of the visual images. Lavie's students continued the formalist approach in their art, consistently relating to the modernist tradition, but in their works visual images began to appear which made it difficult to maintain Lavie's didactic separation of form and "content".
2435:
41:
2716:
2060:
991:
2958:
2239:
himself, dressed in sloppy short pants and rubber flip-flops, intentionally "native" and "Sabra" in his appearance, was displayed as the expression of this problematic aesthetic approach. Lavie's paintings, which include "childish" scribble, collages of magazine pictures, posters advertising Tel Aviv cultural events, stickers with the words "head" or "geranium" printed on them, and most recognizably, sawed-off sheets of plywood painted chalky white, came to epitomize "The Want of Matter" style.
975:. In "First Fruits" (1923) Rubin presents figures typical of the 1920s, interwoven with a powerful fantastic element. As in other works of his from this period, in "First Fruits" he shows a worldview that combines Zionism and Orientalism in one basket; thus, he depicts Jews and Arabs, pioneer couples and immigrants from Yemen and Bedouin shepherds in their native dress holding fruit: a pomegranate, oranges, a watermelon, and bunch of bananas. And next to them local animals: goats and a camel.
982:, who immigrated to the region in 1922, when he was already a mature artist with a worldwide reputation, also display some of the iconographic characteristics of visual art in Palestine. Palm trees and empty landscapes are central themes of his work. Along with paintings of the city of Jerusalem and its residents the special Land of Israel light, which so preoccupied its young artists, is translated in his prints into a sharp contrast which emphasizes the dark images on the light background.
1780:
2614:
1235:
2746:
2008:
1215:, on nudes, people in European middle class attire; in stark difference to the agricultural pioneer image. Furthermore, in the 1930s sometimes the painters would paint scenes in Israel in an Impressionist style and in a Parisian light, dimmer and more grey, in contrast to the powerful Mediterranean Sun. This was also reflected in the works of artists who formerly painted the scenes of the orient in a strong light who in that period switched to a more European color palete.
2941:
616:
2426:
content, but in addition, according to Itamar Levy's formulation, every element in an artistic work is perceived both as a design activity and an ideological concept. Ginton claimed that these political expressions, which increased in intensity after the political and social crisis that followed the Young Kippur War, continued until the 1980s, at which time most artists abandoned these subversive artistic practices and returned to more traditional artistic activity.
2351:
5747:
2470:
1842:
house that was to become the League's permanent home, he was delegated to select works for the
Bienniale in Venice. His selections caused such an outrage among the members that he was ousted from his position. He walked out with a group of artists, and founded an alternative movement, the "New Horizons". On 9 November 1948, the Tel Aviv Museum of Art opened the first exhibit bearing the movement's name. Among the artists showing were Pinchas Abramovich,
2501:
2682:(Hisham's Palace), Cohen created a link between his personal experience as an immigrant and the experience of the Palestinian immigrant, by building a tent and a structure that looked like the sail of a boat, which was also made of fabric. At the same time Cohen Gan set up a conversation about "Israel 25 Years Hence", in the year 2000, between two refugees, and accompanied by the declaration, "A refugee is a person who cannot return to his homeland".
2693:("Gabi and Sharon") gave a number of performances of a political nature and based on current events in public places in Jerusalem. On 24 April 1973 the two of them drew airplanes, tanks, and soldiers on the streets of Jerusalem, accompanied by the caption, "Who needs a parade?" On the same day the two of them showed up at the Medal of Courage and Medal of Valor ceremony at the Jerusalem Theater swathed in bandages and decked out in military medals.
2271:
1224:
5757:
2658:
undergone, and used photographed documentation like doctors' letters and x-rays which showed the artificial heart valve implanted in his body. In other works, such as "Brushes" (1974ā1975), he uses hair from his head and the heads of family members and attaches it to different kinds of brushes, which he exhibits in wooden boxes, as a kind of box of ruins (a reliquary). These boxes were created according to strict minimalistic esthetic standards.
2674:, who created a number of works of a political nature during these years. In his work "Touching the Border" (7 January 1974), four iron missiles, with Israeli demographic information written on them, were sent to Israel's border. The missiles were buried at the spot where the Israelis carrying them were arrested. In "Performance in a Political Camp in Jericho", which took place on 10 February 1974 in the northeast section of the city of
452:
1788:
777:
the Return to Zion and the
Hasmonean Kingdom of Israel , and the Zionist aspirations for the development of a Jewish settlement, driven by ideological and Zionist sentiments. The artists did this by borrowing historical motifs they perceived as "Jewish" motifs and designs they perceived as "Eastern". Typography occupied a central place in their designs. Sometimes the text even became the main element in their compositions.
695:, and on the presentation of exotic people. Photographs of the Holy Land, which also served as the basis for paintings, focused on documenting structures and people in full daylight, due to the limitations of photography at that time. Therefore, an ethnographic approach is in evidence in the photographs, which present a static and stereotypical image of the figures they depict. In the photographs of the French photographer
2137:
717:
2383:
1402:
955:(Arab farmers) resting in the field from their day's labor. An examination of Gutman's style in these years shows a tendency toward the simplification of forms, in the tradition of expressive painting, and toward the use of strong colors. Some critics feel that this naĆÆve style of painting reveals Gutman's romantic approach towards the landscapes of the Land of Israel and its Arab inhabitants.
1765:
2398:, who in those years was not only an art critic and independent curator, but also a partner in various artistic initiatives, set up in opposition to the "Tel Aviv School", "The New Jerusalem School", a term whose origin lay in a Christian metaphysical interpretation of the city of Jerusalem. The central difference between the definition of this group and the "Tel Aviv School", according to
2555:". Many of these works expressed a dialectical and ambiguous relationship with the landscapes of the "Land of Israel" and the "Orient", which in turn expressed increasing political criticism. In many works that included metaphysical and ritual aspects, the development and influence of Caananite sculpture and the abstraction of the "New Horizons" school can be clearly seen.
3011:, who exhibited works that combined "primitive" images with modernist values. In his work "The Clinic" (1999), Meromi presented traditional local architectures and confronted them with primitive or foreign images. In his work "The Boy From South Tel Aviv" (2001), for example, Meromi created a huge statue of a black figure standing in front of what looks like a road block.
1439:. He returned to Palestine in 1938 after studying in Britain, and demonstrated a new national outlook in his work which, in contrast to what was acceptable in Europe, was full of sensuality and Eastern exoticism. This art fit the feelings and sense of identity of much of the population of the Jewish settlement in the country. The dream of Danziger's contemporaries, writes
2712:(1904ā1914). Gershuni sang like a muezzin into a loudspeaker placed on the roof of the Tel Aviv Museum. In another work, "Who Is a Zionist and Who Is Not?" (1979) Gershuni wrote these words on the walls of a gallery with pinkish-red pastels. In these works the minimalist and conceptualist ethics served as a tool for criticizing Zionism and Israeli society.
2758:
511:
2120:'s famous story), which protested against the image of the "mythological Sabra"; Tumarkin strips off his "skin" and exposes his torn innards from which weapons and ammunition protrude and his stomach, which contains a round bomb that looks suspiciously like a uterus. During the 1970s Tumarkin's art evolved to include new materials influenced by "
1062:, who in 1922 left Ohannessian's studio and founded a joint workshop, developed an independent style in which figurative images foreign to traditional Turkish art appeared. For example, the two of them used imagery from ancient mosaics found in the Land of Israel, such as the Bird Mosaic from a 6th-century Armenian chapel or the mosaic from
1369:, and others. They acted on their own or as agents of various information agencies, and created photographs in journalistic style. Only from the 1990s did researchers begin to investigate these works as part of historiography, and as the visual representation of the past, with political, ideological, and nationalistic goals in mind.
2484:
2402:'s interpretation, lay in the difference in the way they defined the status of art in relation to public space. While the Tel Aviv School tended to create its art within traditional definitions, the "Jerusalem" artists sought to establish an eruv (a ritual enclosure) between art and life. A different interpretation, formulated by
2019:. In contrast to the ideal of the rest of the group, Aroch's works showed, in addition to lyric abstraction, a tendency toward substantive content. For example, "Red House (How Are Things at Home?)" (1960), "Sarajevo Manuscript" (1966), and others hinted at content of Jewish historical significance along with the influence of the
1346:, created advertising photographs which emphasized industrial commercialism by using a distortion of the usual standards, close ups, and light for emphasis, as a designer of commercialism. Among the photographers who worked in a more artistic tradition were Richard Levy (Ereel), who created photomontages of semi-abstract figures;
699:, for instance in his prominent photographs of the Holy Land in the last decades of the 19th century, we even see an artificial desert background, in front of which his figures are posed. At the end of the 19th century and the beginning of the 20th century, local photographers began to appear, the most important of whom is
2379:
and escape hegemony by a single group. Their hallmark public exposures were in five shows: Concept + Information 1971 (Musag + Informazia), Beyond
Drawing 1974, The Kibbutz Ashdod exhibition Mikum Kivun 1978, the 1970s Tel Aviv Museum 2008 "Art and Language", 2006 Tel Aviv Museum "Eyes of the Nation" by Ellen Ginton 2008.
2116:), for example, Tumarkin created a sort of steel casing with rifle barrels sticking out of it. The sculpture's mixture of nationalism, lyricism, and even eroticism became Tumarkin's hallmark in the 1960s and 1970s. This technique can be seen also in his famous sculpture "He Walked in the Fields" (1967) (the same name as
2201:, and others. Since it ostensibly lacked a clear ideology, the group focused on organizing a series of exhibits in galleries that tried to emphasize the idea of the blurring of distinctions between different kinds of media in contemporary art. In addition, the group was a pioneering force in the introduction of
2700:
wore as a kind of mask on her head. Natan wore the sculpture the day after the army's annual military parade in 1973, and walked with it to various central places in Tel Aviv. The form of the mask, in the shape of the letter "T", bore a resemblance to a cross or an airplane and restricted her field of vision".
2986:
As part of the international influence, there was a significant growth in the artistic and commercial importance of various types of media, such as photography, installations, and video performance art. New technologies like online video editing and image file processing in graphic programs, made the
2773:
Most of the artists who worked in the 1970s as conceptualist artists in a variety of media changed their style in the 1980s and returned for the most part to the medium of painting. This, under the influence of
European and American art, was characterized during those years by a mixture of styles all
2703:
A blend of political and artistic criticism with poetics can be seen in a number of paintings and installations that Moshe Gershuni created in the 1970s. For Gershuni, who began to be famous during these years as a conceptual sculptor, art and the definition of esthetics was perceived as parallel and
2409:
Another trait of this artistic school is the influence of conceptual art and innovative media such as the installation and the performance or display. It is worth noting that at this time the boundaries between all these types of media were blurred, and the use of terms like "activity" and "concept",
2242:
In addition to crystallizing a clear visual language, Lavie was careful to keep the discussion of his work on a formalist level. In interviews he consistently avoided all interpretation of his work outside the sphere of its "artistic language" in modernist form. In spite of clear iconographic imagery
946:
painting using a palette of light colors, an attraction to expressive brushstrokes, and a tendency toward naĆÆve, flat painting. In addition to traditional subjects such as portraits, many artists depicted the Land of Israel in landscapes that added a romantic perspective to their subjects. This style
871:
designed in the "Assyrian-Mesopotamian" style, reflected Melnikov's aesthetic ideal. "For many generations", Melnikov asserted, "the Jews were cut off from the figurative tradition in art; there are many ways to express artistic taste, but the taste that was in fashion was European art based on Greek
4372:
Michal Heiman's photographs documented Lavie in his wanderings around town and presented him in typical situations. The artist Doron Rabina described the national image of the artist: "The end of a summer day. Rafi goes into the cafeteria, sweat is trickling down his temples, and his shirt is so wet
2699:
created a number of performances dealing with the dissolution of the connection between the viewer and the work of art, at the same time criticizing Israeli militarism after the Six-Day War. Among her important works was "Head Sculpture", in which Natan consulted a sort of wooden sculpture which she
2374:
Efrat, Neustein and Gitlin also produced methodical, basic, severe graphics that re-defined the materials, tools and viewer's roles. Efrat's double silks and shadow pieces dealt with the concrete aspect of pictorial surfaces. Neustein's torn paper works, Erased Drawings, Magnetic Fields, Steel Wool,
2035:
also painted in Israel during those years according to the principles outlined by the "New Horizons" group. Arikha painted large works in dark colors until he emigrated to Europe, where he began to produce small figurative paintings. Abstract art merged with conceptual art in Israel in the 1960s and
1755:
In the 1950s and 1960s Israeli artists began exploring the idiom of the Avant-garde current in Europe and the United States. Immigrant artists brought trends to Israel, and influential Israeli artists spent stints in Europe, especially in France. Some of these artists sought a universal style, while
1474:
In spite of the fact that Danziger later had his reservations about "Nimrod" as a model for Israeli culture, many artists adopted the "Canaanite" style and point of view in their sculpture. Figures resembling idols and images in "primitive" style appeared in Israeli art until the 1970s. Furthermore,
772:
Alongside the art school, within its different tracks, studios opened for the production of jewelry, tapestries, paintings and Jewish ceremonial objects that were sold in Jerusalem shops. Schatz's vision included the idea of cross pollination between the various parts of the institution. "There is a
2994:
In the works of local sculptors of the 1990s can be seen a tendency towards large and detailed installations. Often they demonstrated a kind of protest against social values by using artistic symbols. Michal Rovner used the medium of video art to create rich and complex textures which were composed
2589:
created in the area between the two communities an improvised library of books recycled from Amnir Recycling Industries. Another artist influenced by Danziger's ideas was Igael Tumarkin who, at the end of the 1970s, created a series of works entitled, "Definitions of Olive Trees and Oaks", in which
2342:
The axioms of that 1970s group were indifference to Zionist aesthetics; a general distaste for regionalism, national myths, and individual heroics. Avital Geva's Exchange of Cultures brought Arab Villagers and Kibbutzniks to exchange books with one another. To define a purpose for art, he moved his
2205:
into Israel. Although "10+" officially disbanded in 1970, the members of the group carried on its spirit and its style, taking their final form from a group that revolved around the art school "The College" (ha-Midrashah). The esthetic principle of this group came to be called "The Want of Matter".
2078:
In the 1960s American artistic influences began to reach Israel, especially abstract expressionism, pop art, and later, even the art pauvre of conceptual art. In addition to bringing new artistic forms, these influences also introduced a direct engagement with political and social issues. Events of
1929:
The quest for a connection between the artist and society is reflected also in the monumental works on the walls of public buildings that were commissioned beginning in the 1950s. Examples include the mosaics of Mordechai Gumpel on the walls of public buildings in Petach Tikva, Holon and elsewhere,
1877:
Others in the group, however, deviated from this style. Marcel Janco, of international fame for his involvement in the Dada movement in Europe in the 1930s, did not adopt this approach to abstraction; rather his art uses European Cubist and Expressionist styles to create a Jewish-Zionist narrative.
1873:
Zvi Meirovich, a prominent member of Okakim Hadashim, painted in the abstract lyric style, but unlike his colleagues he was more inclined to a German rather than a French palette. His bold use of black and reds particularly in the gouaches. The big breakthrough was in oil pastels, that only he made
1869:
For example, in his series "Yehiam" (1949ā1952), Zaritsky depicts scenes from the establishment of Kibbutz Yehiam in northern Israel. The early paintings in this series (mostly watercolors) depict the natural landscapes of the region, while the later paintings are (mostly oil) abstractions of these
1318:
as well, the Cubist language in which they shaped their works did not lead them to abandon the realism and the boundaries of traditional representation. In his well-known work, "The Fleece" (1947), for example, Sebba used the Cubist language to intensify the monumentality of his images, while using
1301:
who, in 1928, after completing his studies at Bezalel, went to study in France. Upon his return he served for a short period as a teacher of sculptor at Bezalel, and at the "New Bezalel". In 1932 Ben Zvi had his first exhibit at the national antiquities museum, "Bezalel", and a year later he had an
776:
In the art created in Bezalel during this period Jewish and religious motifs dominate, for example, descriptions of the holy places, scenes from the Diaspora, etc. The works are decorative and heavily engraved in the "Eastern" style. The descriptions sought a connection between the Biblical period,
2829:
exhibited large paintings with textile motifs, such as buttons, shirt fabrics, etc. The works are abstract and decorative in style. The gap between the calculated, formalist (formal) approach and the use of everyday themes was a result of the feminist approach that derived from it. In the works of
2642:, and others, the relationship to the body was assimilated into sociopolitical significance. In her work "Letter to Beuys" (1974), for example, Getter wrote a fictitious letter to the artist Joseph Beuys. The letter included three different biographies and asked Beuys to make her a coat and shoes.
2425:
Ellen Ginton, in her article "The Eyes of the Nation: Visual Art in a Country Without Boundaries " (1998) presented the art of the 1970s as a response to the political and social problems of Israel during that period. Artistic formalism is perceived not only as a framework for social and political
2378:
These dozen artists were not an organized movement, there was no manifesto but rather there were strong opinions and an ideology, a timely kinship that found a common desire for a collective agenda. Sometimes they were referred to as Post Minimal, or Conceptual, to elaborate Israeli visual culture
2238:
In an article accompanying "The Want of Matter" exhibition, Breitberg-Semel focuses on Raffi Lavie as a typical representative of this style. Lavie's work "typifies the Tel Aviv spirit", which is European-Zionist modernism mixed with neglect and abandonment. Over the years the image of Raffi Lavie
2023:
of the time. In his works "The High Commissioner" (1966) and "Agripas Street" (1964), for instance, the many interpretations these works received included widespread perception of them as historical paintings in which Judaism and Jewish tradition are given a place of prominence. These paintings in
1949:
Mordechai Ardon's work stands out from that of other New Horizons artists for dealing with the mystical and historical, rather than concentrating on the present. His canvases often depict episodes from Jewish history, from Biblical scenes to the Holocaust. For example, his painting "Gate of Light"
1892:
Indeed, during the 1950s, the "New Horizons" group tended more and more toward the abstract, and away from reliance on the figurative. Zaritsky led this shift, which was rooted in what he saw as a guiding ideology. Some members of the group, however, rejected this ideology, and eventually quit the
1805:
The germination of the "New Horizons" ("Ofakim Hadashim") movement can be found in a group of artists who mounted an exhibition in Tel Aviv's Habima national theater in December 1942, under the name "the Group of Eight", But the group crystallized into the dominant artistic movement only after the
1431:
The visual expression of this aspiration was the use of archaic forms and styles, under the influence of Fertile Crescent art. This tendency reflected, to a significant degree, the interest in primitive art and sculpture that was prevalent in Europe at the beginning of the 20th century. Often this
1427:
speaking youth to become a buffer against Judaism. He declared that between the youth that had settled in the Land of Israel and the Jews of the Diaspora there was no true connection. This became the characteristic cry of the Caananites, whose members proposed a return to the mythological past, to
724:
Until the beginning of the 20th century no tradition of fine arts existed in Palestine although European artists came as visitors and painted the "Holy Land". Artists and craftsmen of Judaica objects and other applied arts made up the majority of artists working in the Land of Israel. Although the
2338:
discarded the conventions of taste, the heroics of authenticity, and provincial narrative. By sheer force and power of evading ātasteā while yet remaining in the context of art, art could be redefined, its field expanded and the artist liberated to achieve unique existence and value. (see Clement
1841:
For these artists, this was not only a statement of philosophy, but a practical work plan. Zaritsky, who served as chairman of the League of Painters and Sculptors in the Land of Israel, opposed the league's philosophy of equality among artists. In 1948, at the time of the opening of the artists'
1341:
created photographic portraits in typical expressionist style, expressed in his use of light and in the angle of the photograph. In 1936 Larski created 175 photographs of man, which attempted to encompass his personality in its entirety, using a technique called "metamorphosis by means of light";
2657:
during this period dealt with the complex relationship between art and the life of the artist, and with the dialectic between artistic representation and real life. In the exhibition "Exposure" (1975), Gechtman described the ritual of shaving his body hair in preparation for heart surgery he had
2346:
Ullman's Berlin Library created a standard for memorial sculpture. His negative space sculptures were often made by digging under ground. Buky Schwartz made perspective correction and earliest video art in the country. Neustein (in collaboration with Marx and Batlle) made the first environmental
2087:
intensified these influences and led to a variety of politically charged artistic expressions which became the trademark of an entire generation of younger artists. Under the influence of American conceptual art, there even developed among Israeli artists a tendency to emphasize the dimension of
2050:
and others developed an identifiable style characterized by reduced use of color, and by a process of erasing and wiping the drawing over and over until it formed an expressive grid. For many years Kupferman refused to identify his works with any external themes, in spite of critics' attempts to
875:
Other young artists offered alternative artistic approaches, turning to modern art, of which Schatz and Melnikov strongly disapproved. This showed up also in the exhibitions they organized. In 1920, for example, the "Hebrew Artists Association" was formed; it organized the annual exhibition, and
3050:
The tendency toward the preoccupation with central symbols can be seen primarily among the artists who thought of themselves as representatives of a minority group within Israeli society. The artist Assam Abu Shakra, for example, made use of the symbol the "Sabra" which Israelis thought of as a
2797:
These international trends filtered into Israeli art, which reflected the attempt to undercut the values of contemporary Israeli society. In the art of this decade, especially toward its end, a discourse of identities developed, a discourse that was incompatible with the institutional hegemony;
1443:
after Danziger's death, was "to unite with the land of Israel and the earth of which it is composed, to create a specific image with recognizable signs, something that is from here and is us, and to embed in history the mark of that something special that is us". In addition to nationalism, his
3058:
used photographs of Israeli soldiers, posed in various existential situations, combining them with images of homoerotic significance and of death. In the untitled photograph (1999) that has come to be known as "The Last Supper", soldiers sit around a table in a tableau reminiscent of "The Last
1937:
New Horizons artists, too, despite their avowed adherence to a philosophy of universality, often expressed in their works sentiments of nationalism, Zionism, and socialism. For example, Zaritsky, one of the leading ideologues of the universalist school, produced series of paintings focusing on
773:
practical side to the study of art", Schatz wrote, "The school always needs new drawings for the rugs and silver artifacts. Thus we need a series of artists who have absorbed the prevailing spirit of the school within their art, having studied with the expert teacher who embodies this spirit".
2975:, which exposed the Israeli public to contemporary international art; the opening of new galleries that displayed Israeli art of the times; the increase in exhibitions featuring collaboration between Israeli artists and foreign artists; and the strengthening of peripheral museums (such as the
3051:
Zionist symbol, as part of a process for establishing an Israeli Arab identity. Another artist, Sharif Waked, created in his series "Jericho First" (2002) a metamorphosis of the image of the hunter in the floor mosaic in Khirbat al Mafjar, north of Jericho, as a means of political criticism.
1865:
The group sought a style that reflected the striving for Zionism and Modernism. This style was largely dictated by the leading artists of the group ā Zaritsky, Stematsky, Meirovich and Streichman. In practice, this style was a variant of European modernism. The style has been called "lyrical
1322:
Even more striking avant garde trends began to appear in the work of the Jewish photographers, most of whom were influenced by the German avant garde and the expressionists of the 1920s and 1930s. Photography in the land of Israel developed under the encouragement and guidance of the Zionist
1905:
While the abstract and secular works of the New Horizons group had profound influence on the course of art in Israel, they were nonetheless considered at the time to be on the fringes of mainstream art, which was mostly figurative and often bearing explicit Jewish and Zionist messages. This
1250:
and abstract art in their painting and sculpture. Two of the strongest influences were French art and German art. Gideon Efrat claimed that these influences created two different trends in the plastic arts. While the "Parisian" influence was expressed in a "dynamic softness that melts heavy
1335:, and others, documented the Zionist enterprise and the Jewish settlement, sometimes using photographic angles, compositions, and views which took their inspiration from Soviet Communism in Russia. Other photographers sought to use these techniques for artistic or commercial photography.
2074:
Until the 1970s, mainstream Israeli art dealt with a broad artistic and personal spectrum but, for the most part, ignored political issues. Even artists who portrayed cultural or Jewish content in their works were considered anachronistic by the artistic establishment of the time.
2585:, with the help of youth from both the kibbutz and the village, dug a hole in each of the communities and implemented an exchange of symbolic red soil between them. Moshe Gershuni called a meeting of the kibbutz members and handed out the soil of Kibbutz Metzer to them there, and
2927:
Performance art also began to develop. The most important group functioning in this area was named "Shelter 209", after the number of the Tel Aviv bomb shelter in which they performed. Members of this group were Danny Zackheim, Tamar Raban, and Anat Shen. Another group, the
2532:, taped water sounds were projected out of speakers. The imaginary river not only created an artistic environment outside the boundaries of the museum, but also hinted ironically at the concept of messianic redemption that appeared after the Six-Day War in the spirit of the
793:(1865ā1908), to the institution to join the Bezalel teaching staff. Hirszenberg brought European academic painting to Bezalel, and painted Jewish subjects within this framework. The artist Ze'ev Raban created many graphic works in the spirit of Art Nouveau, also known as "
950:
Among the artists identified with this style, the artist Nachum Gutman stands out. Gutman painted many depictions of the city of Tel Aviv, but also of the country's Arab citizens, many of whom he met with in Jaffa. His famous painting "Resting at Noon" (1926) depicts
970:
Reuven Rubin also frequently depicted Jewish life in Mandatory Palestine. For example, in "Sophie, Bukharin Jewess" (1924) and "Dancers from Miron" (1926) his tendency towards flatness and a decorative style stand out, showing the influence of modern art and even of
4038:
2876:
in his series of abstract paintings entitled "Tsoba". from which fragments of the Arab village that sat on the site of Kibbutz Tzuba until the War of Independence peek through. This series was created as a counterpoint to the abstract paintings of the same name by
2580:
In 1972 a group of young artists who were in touch with Danziger and influenced by his ideas created a group of activities that became known as "Metzer-Messer" in the area between Kibbutz Metzer and the Arab village Meiser in the north west section of the Shomron.
1206:
was portrayal of humanity, and the emotion evoked through human facial expression. Much of the art produced was in a way an antithesis to the agricultural spirit of the Zionist movement at the time, although it was not done deliberately. Art focused extensively on
1889:, introduced welded steel as a new medium. This new form freed these artists from the figurative character of stone and wood carving, for a more purely abstract oeuvre. Here, too, however, there is frequent reference to the Canaanite figurativeness and symbolism.
703:, who focused on an ethnographic description of the reality of the Holy Land, in large part colonial. In addition there were other photographers, many of them Armenian, who worked as commercial photographers in the Land of Israel and neighbouring countries.
3076:
in 2013 was a reaction and partial solution to this discussion. The Jerusalem Biennale aims at creating a platform for contemporary artists and curators who seek to deal with Jewish content and traditions through their works. Modern Israeli artists such as
1161:
was especially marked from 1925 until the late 40s, with the use of browns and the painting of rural Israeli paintings as though they were in the countryside of southern France. Others took inspiration from the Jewish artists of the School Of Paris such as
3027:
emphasized this connection through a variety of means. In his exhibition "Yotam" (1999), Gechtman displayed a series of works connected to the death of his son, within a framework of works relating to post modernist means of replication and reproduction.
4309:
Exceptions to this are the works "With beers, beers, and more beers" (1982), influenced by the Sabra and Shatilla Massacre, drawings in memory of Emil Greenzweig (1983), and the group of late works "Fraction and Time", exhibited at Kibbutz Lohamei
888:, Melnikov, and others. In these exhibitions art in the "Bezalel Art" style were exhibited next to art influenced by the European Post-Impressionist and Expressionist styles. Other exhibitions of Modern Art were held in the hut attached to the
2220:" group. The members of this group developed a style that came to be called the "lyrical abstract", within the framework of which the painters created an abstracted form of reality with expressionistic overtones. The works of their followers,
651:
of Jerusalem made Shiviti (or Shivisi, in the Ashkenazic pronunciation, meditative plaques used in some Jewish communities for contemplation over God's name) on glass and amulets on parchments, with motifs such as the Sacrifice of Isaac, the
2666:
After the Yom Kippur War there was a palpable intensifying of protest in Israeli art against everything that was perceived as Israeli militarism or its relationship with the Palestinians, the dominant medium for which was the performance.
2370:
1986 is a procession of horses passed through the streets. Each horse carried a television set on its saddle. A documentary film projected on the television screens showed throngs of people displaced by disaster, famine or war, wandering.
958:
This approach is also typical of other artists of this period. Sionah Tagger, for example, created a description of the "Railway Crossing at Herzl Street" (1920) in an expressive style that emphasized the modernity of the new Hebrew city.
780:
The work of Schatz himself consisted mostly of small-scale sculptures of Jewish subjects, as well as reliefs and memorial plaques in honor of various Zionist leaders. His most famous sculpture is Mattathias (1894), which was influenced by
2347:
work. The Jerusalem River Project 1971 was a sound river at the edge of the Judean desert. Boots at Bet Omanim Jerusalem was an agglomeration āfive truck loads- of army boots left by various armies in the region, piled into random heaps.
556:
was dominant and was largely restricted to religious and Holy Land-related topics, catering to the needs of visitors and locals. Painting commonly remained within the confines of Orientalism, and early photography tended to imitate it.
1906:
explicitly nationalist trend in Israeli art was denounced by its opponents as "regionalism". New Horizon critics, who maintained that art was international and universal, were opposed by the ideology of the Bezalel School at the time.
2884:
Artistic photography gained status during this period, emerging from the place it had occupied for many years as a negligible area of art. A large number of artists returned from studying photography in the United States, among them
2841:
If in the 1970s Israeli art is full of social and political messages, art in the 1980s is more concerned with "protest". This attribute is especially evident in the second half of the 1980s, under the influence of events such as the
2088:
artistic creativity, that is, the "ars poetica" discourse, and how it is perceived by the viewer of art within society. In this spirit, artistic activity in Israel was often seen to be part of the country's social-political reality.
1186:
and specifically Paris. Paris at the time was the center of the cultural world and specifically the artistic world and people of culture of every nationality left for Paris. and study there, thus a wave of Israeli artists studied in
816:
Due to financial difficulties and political infighting the school closed in 1929. The museum, which housed many works of art, remained in the Bezalel building. This collection eventually served as the basis for the Art Wing of the
2051:
label his paintings a reaction to the Holocaust. Alternatively, his works have been described as a phenomenological process: as layers constructed in a dialectical process which accrues "life experience as the layers accumulate".
1245:
The return of Jewish artists from Europe in the 1930s to Mandatory Palestine gave rise to a variety of influences from modern art on art in the Land of Israel. At the same time these influences did not motivate the artists toward
860:. Melnikov suggested a different formal approach, culled from within the art of the Ancient East. This approach was offered as a replacement for the European art forms that dominated Bezalel during the reign of Schatz and Lilien.
4612:
See: Ilana Tannenbaum, "The Israeli Connection: Between the Private Entity and the National Entity", ZERO video written in light, live broadcast, The Projected Image ā The First Decade. (Haifa Museum of Art, Haifa, 2006). (In
2124:", such as dirt, tree branches, and pieces of cloth. In this way Tumarkin sought to sharpen the focus of his political protest against what he saw as the one-sided approach of Israeli society toward the Arab-Israeli conflict.
4576:
See: Ilana Tannenbaum, "The Israeli Connection: Between the Private Entity and the National Entity", ZERO video written in light, live broadcast, The Projected Image ā The First Decade. (Haifa Museum of Art, Haifa, 2006) (In
3022:
created works that invoked the memory of the Holocaust, along with other personal experiences. Nahum Tevet created sculptural constructions that strove to reflect viewer perceptions, memory, the object, and the work of art.
851:
At the beginning of the 20th century some of the Bezalel students began to rebel against the rigid artistic tradition that was followed in the institution and turned to more "subjective" art. This period is often called the
1718:
and others. Safed though a major theme in Israeli art was not recognized as a place which dictated the course of Israeli art from the 1950s onwards. Instead it is said that the art trends in Jerusalem and more importantly,
2030:
created expressive abstract drawings with motifs and images that called to mind birds, circus images, and landscapes. Another artist, Lea Nikel, painted highly colored abstracts in the style of French art of that period.
768:
with a painter and a sculptor on each side and a lamp maker and a rug weaver next to them. Under the illustration is the caption "Work is the fruit; art is the bud; art without a soul is like prayer without conviction".
1035:(1884ā1953), who specialized in decorative ceramics for structures and monuments, many of them at the invitation of the British government. Among the principal works Ohannessian created in Jerusalem were: tiles for the
2920:. In his portraits, Kirshner used artistic devices such as makeup, lighting, and composition in an attempt to create the desired effect on the way his subjects would be socially perceived. In his portrait of the model
2633:
claimed that, in contrast to artists worldwide, the works of Israeli artists were restrained in their artistic language and tended to be reductionist with regard to forms. In the works of many Israeli artists, such as
1051:. As he transplanted his art to Jerusalem and continued to develop it, he added images inspired by the local traditions and Armenian illuminated manuscriptsāfrequently using the Bird Mosaic in objects and tile panels.
4290:
Cf, Sarit Shapiro, Paths of Wandering: Migrations, Journeys, and Transitions in Contemporary Israeli Art (The Israel Museum, 1991), p. 62; David Gintan, "The High Commissioner", Ha-Midrashah, 3, 2000, pp. 200ā249 (In
3205:
1618:
showcased the mystics of Tzfat with the avantgarde movements they pertained to, painting with colors that reflect the dynamism and spirituality of the ancient city, painting the fiery or serene sunsets over Mt Meron.
2362:
Joshua Neustein's five Ash Cities were geographic ambivalences realized in five museums in the US, Germany, Poland and Israel. The Ash cities were on-the-floor relief maps made with tons of ashes and a chandelier.
2798:
narrative painting returned and regained its status among local artists, intentionally combining the post modernist use of "the high" and "the low" in all aspects of the implementation and themes of works of art.
2817:
symbolism with images of soldiers with Jewish associations, such as verses from the Bible and from other Judeo-Christian sources. Another prominent aspect of art in those years was the use of references to the
2127:
After the Six-Day War Israeli art started to gravitate away from describing war and its symbolic content. Tumarkin's sculpture still dealt with it, but began to express it in a variety of more abstract ways.
3006:
created environments rich in objects with an expressive appearance that reflected her interest in transitional situations and in social-political criticism. Social criticism can be seen also in the works of
3553:""Ćcole de Paris" In and Out of Paris (1928ā1930): A Transregional Perspective on the Exhibitions of the "School of Paris" in Venice, Cambridge, Recife, SĆ£o Paulo, and Rio de Janeiro - Stedelijk Studies"
1926:(Bar-Am) depicted the dramatic events of the period ā World War II and the Holocaust. Their works were explicitly Jewish, while adopting the styles of the European avant-garde of the early 20th century.
5712:
1584:. All of these brought many major and minor artists to travel and live in the ancient city; recognizing the artistic potential of city. Some have compared the artistic activity in Safed to that of the
2987:
use of these media easier for Israeli artists. Another trend of the 1990s was a return to realistic figurative painting, that is, painting created by looking at the object being painted. The painter
797:" . The subjects of these works were "Orientalist" landscapes of the Holy Land and figures from the Bible drawn in the Neoclassical style. Among other well-known artists who taught at Bezalel were
2228:, used a national aesthetic model called "The Want of Matter", using materials in their art that were compatible with their ascetic outlook and combining abstraction with an implied iconography.
1463:, etc. In addition to his students, his studio became a popular meeting place for artists from other fields as well. In this studio Danziger created his first significant works, the sculptures "
2822:
and to Jewish culture in Europe. Gershuni's painting techniques included applying paint with his hands, without using a brush, transforming the act of painting into a sort of solo performance.
2551:
This work also can be viewed as an indication of the growing number of artists who could be found out in the middle of the Israeli landscape, under the influence of the American trend toward "
4463:
See Adi Engelman (Curator), The Michael Adler Collection and Israeli Post-Minimalism in the 1970s and in Contemporary Art (Herzliya Museum of Contemporary Art, Herzliya, 2008). (In Hebrew).
2112:. His early works, such as "Panic Over Trousers" (1961) were created as expressive assemblages. His sculpture "Take Me Under Your Wings"(1964ā65) (the first line in the well-known poem by
6116:
5722:
2704:
inseparable from politics in Israel. Thus, in his work "A Gentle Hand" (1975ā1978), Gershuni juxtaposed a newspaper article describing abuse of a Palestinian with a famous love song by
647:, silver smithing, and embroidery, producing their works in small crafts workshops. A portion of these works were intended to be amulets. One of the best known of these Jewish artists,
3089:
have contributed their work to the Biennale and the exhibitions have displayed works from artists outside of Israel as well. The fourth Biennale took place in OctoberāNovember 2019.
5636:
2854:, for example, painted works of a clear political nature, such as "Green Line With Green Eyes" (1987), which showed the borders of Israel without the land that was conquered in the
1310:
as a means of subverting the artistic object, Ben Zvi's sculptures use Cubism as a means of intensifying the feeling of monumentality of the image. In the work of artists such as
1258:
The most typical influence of the European avant garde is evident in international architectural styles in Mandatory Palestine, brought by architects who were graduates of the "
1098:
and spread the message of Parisian modernism. Several of these students would in their day become some of the leading artists in Israel. Furthermore, several art students from
2394:
The perception of "The Want of Matter" as the "center" of Israeli art that grew up in the wake of Breitberg-Semel's influence, pushed many artists to the side of that center.
1870:
earlier scenes. This progression, contends art critic and curator Mordecai Omer, reflects Zaritsky's belief that external visual reality is the basis of artistic originality.
1686:
was not united by a common ideology, however there was a clear bastion of the Ecole de Paris artists who in Safed. Thus an art syle reminiscent of the Jewish Expressionism of
6126:
4744:
2838:
this preoccupation with deconstructing the personal narrative by dealing in a formalistic way with the relationship between form and content, is also very much in evidence.
648:
540:
created by Israeli artists or Jewish painters in the Yishuv. Visual art in Israel encompasses a wide spectrum of techniques, styles and themes reflecting a dialogue with
1074:, the heirs of the founding artists, set up two independent workshops that both used designs that had been developed in the past and created some new ones of their own.
1922:
created works that reflected national social tensions, a clearly socialist political slant, and glorification of the worker. Others, like Naftali Bezem and Miron Sima,
1266:
can also be found in the works of a group of artists who were influenced by the trend towards realism of French sculptors of the beginning of the 20th century, such as
4281:
For an iconographic analysis of this painting, see: Gideon Efrat, "The Aftermath of Arie Aroch's 'Red House'", Studio: Journal of Art, 62, May 1995, p. 35 (In Hebrew).
3072:
Since the birth of Israeli art, there was a long discussion about the role of Jewish content and where it fits within the discourse of Israeli art. The foundation of
5717:
5094:
1950:(1953), shows the tree of life, a symbol of great Biblical and Kabbalistic meaning, within a surrealistic landscape reminiscent of the work of Paul Klee and others.
575:; by teaching and mentoring many of the nascent state's upcoming great artists. Furthermore, he along with other artists led the movement of Israeli artists to the
5676:
2593:
Another group that operated in a similar spirit, while at the same time emphasizing Jewish metaphysics, was the group known as the "Leviathians", presided over by
1055:
1610:, something that is very visible in their work. Tzfat, one of the four holy cities of Judaism provided a powerful emotional scenery to those artists who visited.
2024:
particular, and Aroch's work in general, are generally viewed as the antithesis of the "Caananite" approach seen, for example, in Itzhak Danziger's early works.
2971:
The 1990s brought an openness to contemporary trends in international art. Among the elements responsible for this were the monthly journal 'Studio', edited by
6121:
5686:
2972:
2210:
635:, but also for export and local consumption. These objects included decorated tablets, embossed soaps, rubber stamps, etc., most of which were decorated with
6081:
5631:
5551:
4917:
4779:
2181:
and avant garde art into Israel, developing an unpolished style, and combining photography, Readymade, and collage. Among the many artists in the group were
216:
6091:
4884:
2108:, Tumarkin returned to Israel in 1961 from East Berlin, where he had been the set manager of the Berliner Ensemble theater company, under the direction of
1343:
1067:
1195:
quarter, and would then return to Israel several years later bringing back with them the influence of French art and specifically that of Jewish Parisian
5871:
4064:
1656:
1347:
1275:
1032:
665:
2153:
939:. Another exhibition of modern art was held in 1930 in the Tel Aviv Museum and was called "The Beginnings of Modernism in Israeli Painting, 1920ā1930".
2630:
2517:
2446:
2406:, saw in these two approaches two dialectical concepts which opposed "conceptuality" to "picturesqueness", universal abstraction to specific locality.
2004:. In 1964, a new group of about 30 artists formed, called "Tazpit" ("Outlook"), This group carried the torch of abstract art into the 1960s and 1970s.
1460:
1199:. In characteristic of Jewish Parisian Expressionism, the art was dramatic and even tragic, perhaps in connection to the suffering of the Jewish soul.
2909:
in the mid-1980s, a Biennale of Israeli Photography was held, presenting Israeli photography for the first time in a museum setting on a large scale.
5671:
4737:
2602:
1855:
1351:
1279:
733:
in Palestine was very great indeed, and it is customary to view its establishment as the beginning of Israeli art. The school was founded in 1906 by
1830:
also appeared in the catalog of the 1942 exhibition, though it was not displayed. In February 1947 five of the original members of the group joined
1361:
The intensification of the Israeli-Palestinian dispute influenced the works of Arab photographers with a developed political consciousness, such as
683:
A large body of artistic work was produced by European artists, primarily Christian painters, who came to document the sites and landscapes of the "
4784:
3015:
2917:
2894:
2831:
1811:
1263:
1838:. Members of the group stated that "The group is based in modernism, especially French, yet seeks a unique style that expresses our own reality".
1110:
during the weekends studied at Frenkel's studio, thus they too were immersed in the new light of French art. With the rise of the new modern art,
495:
5961:
3552:
3040:
3036:
3019:
2259:
2190:
1953:
Ever since, surrealism has played a significant role in Israeli art, and some of its most gifted and influential proponents include artists like
1930:
that depict Jewish settlers building the nation, in a style drawing much on the Canaanists; or Yohanan Simon's mural of kibbutz youth at Kibbutz
1847:
1815:
1603:
1366:
1059:
920:
4373:
it's stuck to his body. I couldn't help thinking, 'There goes a master'"; See: Doron Rabina, "The Drawing Itself". Ha-Midrasha, 1, 1999, p. 127.
6136:
5732:
3999:
3728:
3689:
3275:
3018:, for example, created sculptures and installations that recreated his childhood experience of being a new immigrant and a stranger in Israel.
2690:
2686:
1878:
Moshe Castel, also, went through a transformation during the 1950s from abstraction to expressionism characteristic of the Canaanist movement.
1447:
Danziger opened a sculpture studio in the yard of his father's hospital in Tel Aviv, and there he critiqued and taught young sculptors such as
1315:
691:
and religious and focused on documentation ā first of the painting and later of the photography ā of the holy sites and the way of life in the
2805:, who created collages and other conceptual art in the 1970s, moved to large scale paintings with psychological and psychoanalytic overtones.
6041:
6036:
3032:
2890:
2586:
2521:
2442:
2403:
2291:
2105:
1911:
1355:
4332:
See: Yona Fischer, Tamar Manor-Friedman, The Birth of Now: The 1960s in Israeli Art (Ashdod Museum of Art, Ashdod, 2008), p. 76 (In Hebrew).
6076:
6056:
6016:
5941:
4730:
2177:, sought an alternative to the "lyric abstraction" of the New Horizons group. The most important innovations of this school were importing
2043:
1362:
2924:(1982), Kirshner emphasized the artificiality of the public image of the model, and on the gap between this image and the private person.
6046:
6021:
3047:
continued his work from the 1980s with imagery such as "Keffiyah" and "Biladi", which juxtapose American abstract art with local images.
2980:
2929:
2886:
1915:
482:
71:
3014:
Even the older generation of sculptors turned to historical narrative of a more personal nature and to reflection on the nature of art.
1047:, etc. Among the motifs appearing in his decorations are cypress trees, tulips, and grapevines, all of which are typical of traditional
1468:
4409:
See: Yair Garbuz, In All Probability, the Train Will Pass Through Here Soon (Am Oved Publishing, Tel Aviv, 2000), p. 275. (In Hebrew).
1655:(1948), the Arab quarter was vacated and Tzfat decided to grant homes to Israel's great artists. In the late 1940s and early 1950s an
4910:
4546:(Israel Museum, Jerusalem, 1998), p. 82ā83. For documentation on the varied sculptural activities of Tumarkin, see: Yigal Tumarkin,
2979:, which changed its policies during these years). This trend was echoed in the official art establishment with the founding of the "
2708:(called: "All Her Heart She Gave Him" and the first words of which are "A gentle hand", sung to an Arab melody from the days of the
1739:
Although far less active than once. In Tzfat there remain several galleries that guard the old heritage of art in Safed such as the
1066:. Often these images were imbued with a Christian theological interpretation. Their joint workshop remained active until 1964, when
3039:, for example, created figurative paintings reflecting the failed attempt at family perfection and artistic perfection. The artist
2327:
729:", was not the first art school established in the Jewish settlement, its importance in setting the boundaries of the tradition of
3623:
3175:
1274:, and others. This symbolic message in content and form appears also in the works of artists of the Land of Israel group, such as
967:, expressed this romantic approach by focusing on subjects from the Bible depicted in illustrations that were fantastic in style.
5661:
4436:
Ariela Azoulay, Training for Art: A Criticism of Museum Economics (HaKibbutz HaMeuhad, Tel Aviv, 1999), pp. 163ā164. (In Hebrew).
1564:
was a hotbed of different themes for the Israeli artist. It presented a vision and diversity of tradition Jewish life, be it the
253:
3581:
1910:, head of Bezalel, wrote in 1954, "Every artist, like every citizen, must serve his country in heart and in soul". Artists like
2170:
571:
also known as, Alexandre Frenel, considered the father of Israeli modern art, brought to modern Palestine the influence of the
406:
379:
2866:, created oriental figures, drawn in an expressive-naĆÆve style, combined with captions like "Here is Arara" or "Umm Al-Fahm".
5793:
5085:
872:
and Roman culture, and as long as Athens was the inspiration for art in Europe, the Jew was instinctively excluded from it".
122:
4481:
Ellen Ginton, "The Eyes of the State: Visual Art in a State Without Borders" (Tel Aviv Museum, Tel Aviv, 1988). (In Hebrew).
1342:
this technique made use of mirrors, and he even taught it in workshops on the roof of his home in Tel Aviv. Another artist,
5386:
4903:
4503:
In: The Rehabilitation of Nesher Quarry (Israel Museum, Jerusalem, 1972). (In Hebrew). Yona Fischer, In: Yitzhak Danziger,
4350:
See Ellen Ginton, "The Eyes of the State: Visual Art in a State Without Borders" (Tel Aviv Museum, Tel Aviv, 1988), p. 28.
4341:
Cf, Yigal Tumarkin, "Danziger in the Eyes of Yigal Tumarkin", in Studio, 76, OctoberāNovember 1996, pp. 21ā23 (In Hebrew).
1606:
and other Israeli and Jewish artists were heavily inspired by the stunning panoramas and views that Tzfat offered them of
3901:
2976:
2343:
activity into the Greenhouse to grow vegetables and fish ponds with resistant students, to make art an educational tool.
105:
61:
2983:" project (1994), which aspired to be a biennale of international art, and in other projects during the 2000s (decade).
2629:, which occupied center stage in American art of this period, never caught on in Israel as it did in the United States.
1028:, but the encounter with ancient Land of Israel art and with Christian motifs gave rise to a unique artistic synthesis.
585:
After the destruction of Jewish communities in Europe during the holocaust, Israel emerged as the center of Jewish art.
3983:
3673:
1099:
1419:(1908ā1981) published "Epistle to Hebrew Youth", the proclamation, the manifesto, the first written communication of "
3712:
3259:
600:
1444:
sculptures demonstrated an expressionist-symbolist style similar in spirit to British sculpture of the same period.
669:
5334:
2932:", created images of large-scale cockroaches, which burned up in complex ceremonies that included ritual elements.
2096:
Among the first artists who began to express these artistic influences in their works was the sculptor and painter
117:
1497:(Hebrew name: Tzfat) served as a beacon of inspiration for Israeli artists. Dozens of different artists including
5339:
475:
3466:
3161:
2991:
was the leader of this trend and even opened a painting school to train young artists in this kind of painting.
2723:
Joshua Neustein's Still Life 1983 was a shape of a Phantom Jet made of burning car tires on the Lebanon Border.
1723:
were the ones that steered Israeli art's development, according to this, Safed's artists' many of whom lived in
5274:
4022:
1946:
by a group of artists headed by Marcel Janco. There, Janco hoped to found a new socialist and artistic utopia.
1756:
others sought to develop a uniquely Israeli avant-garde, in the spirit of nationalistic socialism and Zionism.
129:
1580:
communities, the synagogues; whilst also due to its geography has a mountainous arrangement and a view toward
963:(Feldman) depicted scenes of the half-empty country in a palette of bright shades and colors. Another artist,
5681:
5264:
5254:
2731:
2545:
1040:
4631:
See Ilana Tannenbaurm, Check-post: The 1980s in Israeli Art (Haifa Museum of Art, Haifa, 2008). (In Hebrew).
4418:
Sara Breitling-Semel, "Michal Neeman: What Did She Do Here?", Studio, 40, January 1993, p. 48. (In Hebrew).
3138:
2858:, beyond the green line, combined with portraits of Arabs with their face covered and the coastline of the
2537:
374:
3519:
2825:
In parallel to the expressionist approach, other artists worked in a more formalist approach. The painter
4391:
See: Sarit Shapiro, This Isn't a Cactus, It's a Geranium (The Israel Museum, Jerusalem, 2003), pp. 18ā20.
2999:
created videos whose narratives dismantle the institution of family by using comic, ars poetica effects.
2649:, who walked on crutches, created a series of photographs documenting his walking along the route of the
1652:
627:
Early art in 19th century Palestine was mainly decorative art of a religious nature (primarily Jewish or
134:
4622:
Irit Segoli, "My Red is Your Precious Blood", Studio, 76, OctoberāNovember 1996, pp. 38ā39. (In Hebrew).
3609:
3289:
6162:
5139:
3391:
1989:, continued the work of the group after it dissolved, mostly working in a non-objective abstract mode.
1423:", a literary and artistic movement that had been active for some time. In this essay Ratosh called on
468:
895:
Another organization of Israel artists was called "Egged" (Amalgamation) and included artists such as
5786:
5324:
5259:
5078:
3888:
See: Gideon Efrat, "The Secret Caananite Character of 'New Horizons'", Art Visits (2005) (In Hebrew).
2524:
to create "The Jerusalem River Project". In this installation, in the East Jerusalem dry wadi of the
436:
258:
198:
112:
4641:
3779:
5471:
5403:
5379:
5244:
5119:
3031:
In the field of painting as well we see an attempt to criticize society using the language of art.
1683:
1488:
1013:
978:
In spite of his distance from the center of artistic activity in Mandatory Palestine, the works of
753:
576:
297:
2453:
1874:
in large format. Using a deep space photo surface rather than a flat paper was pioneering moment.
6167:
5349:
5314:
5299:
5214:
5114:
3792:
For a distinction between avant garde in an artistic and in a political sense, see Peter Berger,
263:
154:
139:
4445:
See: Itamar Levy, "Memories of the Seventies", Studio, 40, January 1993, pp. 12ā15. (In Hebrew).
3043:
created decorative paintings the significance of which was to show the lack of sexual adequacy.
1992:
New Horizons' last exhibit was in 1963. A number of young artists joined the exhibit, including
5581:
5329:
5304:
5174:
5149:
5134:
5052:
4821:
2163:
1835:
431:
287:
248:
1764:
5354:
5344:
5284:
5204:
5199:
5184:
5169:
5159:
5154:
5124:
5109:
5104:
4774:
4655:
4140:
3766:
3582:
https://kotar.cet.ac.il/kotarapp/index/Chapter.aspx?nBookID=99380671&nTocEntryID=99383120
3344:
1795:
1744:
1036:
853:
333:
226:
4472:
See: Itamar Levy, "Memories of the Seventies", Studio, 40, January 1993, p. 13. (In Hebrew).
6157:
5779:
5319:
5294:
5289:
5269:
5249:
5239:
5224:
5189:
5179:
5129:
5071:
4879:
2113:
2015:
One of the artists on the fringe of the "New Horizons" group who developed a new style was
1513:(many of the artists used to spend the summer in the cooler Tzfat and the winter in warmer
1324:
1087:
835:
798:
636:
364:
317:
231:
66:
2565:
Another example of this kind of experiment was created in 1977 at a ceremony in which 350
8:
5701:
5596:
5372:
5309:
5279:
5234:
5229:
5209:
5194:
5164:
5144:
4874:
4115:
2283:
1823:
1715:
1127:
1012:. This experiment reflected the British interest in traditional art in the spirit of the
1001:
900:
236:
184:
161:
100:
4319:
See: Sara Breitling-Semel, "Painting in a Time of Bankruptcy" (1983), In: Yona Fischer,
2100:, whose art expressed engagement with burning political issues. At the encouragement of
1643:. In the 1930s and 40s several of his former students also ventured to Safed, including
1327:, which commissioned photographs that would spread the Zionist message. Artists such as
5521:
5516:
5411:
5219:
3993:
3722:
3683:
3269:
3073:
2913:
2084:
1063:
1044:
994:
943:
790:
311:
208:
175:
4722:
1731:
during the winter, reflected these trends. Safed's golden age lasted until the 1970s.
6001:
5756:
5641:
5616:
5531:
5511:
5461:
5431:
5421:
5034:
4826:
4018:
3979:
3708:
3669:
3596:
3527:
3431:
Yael Granot, "Bezalel and the Ben Shemen Jewelers' Community" in Nurit Canaan-Kedar,
3255:
3098:
2802:
2679:
2671:
2541:
2335:
2315:
2252:
2157:
1819:
1711:
1644:
1546:
1139:
1107:
868:
830:
51:
31:
876:
during the years 1923 to 1928 held an "Exhibition of Land of Israel Artists" in the
510:
5931:
5926:
5727:
5606:
5601:
5481:
4454:
See: Rona, Sela (Curator), 90 70 90 (Tel Aviv Museum, Tel Aviv, 1994). (In Hebrew).
4090:
3128:
2988:
2843:
2757:
2559:
2473:
2216:
According to Breitberg-Semel, "The Want of Matter" began with the painting of the "
1939:
1506:
1271:
1255:" (Neue Sachlichkeit) which brought with it a static and sculptured monumentality.
1143:
1135:
1009:
936:
857:
839:
802:
688:
369:
1702:
and Moshe Ziffer who did not pertain to the art movement. Several painters of the
1687:
1163:
942:
To a significant extent the modern painters began to create a "Hebrew" version of
604:
6086:
6006:
5836:
5826:
5621:
5576:
5556:
5546:
5446:
4974:
4516:
Amnon Barzel, "Landscape As a Work of Art" (an interview with Yitzhak Danziger),
3133:
3113:
3024:
2878:
2791:
2749:
2654:
2653:
on crutches while carrying a large portrait of himself on his back. The works of
2617:
2598:
2533:
2513:
2438:
2399:
2295:
2109:
2080:
2047:
2039:
1997:
1978:
1907:
1894:
1886:
1831:
1768:
1703:
1672:
1636:
1615:
1611:
1599:
1585:
1577:
1538:
1534:
1533:). Several art movements made Safed their home, the most marked of these was the
1518:
1498:
1476:
1448:
1436:
1435:
One of the most significant artists of the "Canaanite" movement was the sculptor
1387:
1383:
1303:
1287:
1252:
1203:
1182:
studio, many of the young artists were encouraged by their teacher to venture to
1179:
1154:
1083:
912:
881:
589:
572:
568:
390:
359:
351:
339:
329:
243:
221:
191:
22:
3879:
Cited in: Sara Breitling-Semel, "Agrippas vs. Nimrod", Kav, 9, 1999 (in Hebrew).
3318:
2801:
The expressive style in painting was adopted in Israel by a great many artists.
2434:
2429:
1663:
in his home, however due to financial difficulty it did not last. In the 1950s,
1212:
927:. Some of its members, like Orloff and Tagger, displayed influences from French
6051:
6011:
5986:
5891:
5646:
5561:
5541:
5426:
5416:
3082:
3078:
3003:
2961:
2957:
2902:
2898:
2869:
2847:
2806:
2787:
2761:
2715:
2646:
2635:
2509:
2419:
2331:
2232:
2097:
2063:
2059:
2032:
2001:
1923:
1691:
1573:
1569:
1416:
1167:
990:
979:
932:
877:
761:
653:
553:
426:
3455:
Bezalel of Jerusalem: From the Allen B. Slipka Collection of the Israel Museum
582:
leading to a golden age of art in the city during the 1950s, 1960s and 1970s.
6151:
6131:
6096:
5981:
5966:
5956:
5916:
5856:
5841:
5750:
5691:
5626:
5591:
5526:
5506:
5496:
5456:
5441:
5436:
4967:
4842:
3531:
2950:
2814:
2709:
2705:
2613:
2570:
2529:
2493:
2483:
2415:
2386:
2311:
2303:
2198:
2186:
2182:
2146:
1982:
1882:
1851:
1779:
1772:
1660:
1640:
1593:
1589:
1456:
1394:
1338:
1332:
1328:
1267:
1238:
1196:
1119:
924:
904:
818:
806:
696:
673:
644:
628:
522:
456:
76:
2745:
1981:(New Horizons) influenced new artistic trends in Israel. Some artists, like
1234:
752:
was in evidence, in addition to other social movements such as the British "
5971:
5951:
5911:
5881:
5876:
5846:
5831:
5821:
5651:
5611:
5586:
5566:
5501:
5476:
5466:
5451:
4957:
4937:
4858:
4805:
4800:
3118:
2921:
2783:
2774:
grouped under the accepted esthetic of minimalism, including the American "
2650:
2639:
2594:
2582:
2487:
2457:
2395:
2319:
2299:
2217:
2117:
2101:
2007:
1966:
1962:
1919:
1859:
1843:
1707:
1699:
1695:
1668:
1664:
1648:
1620:
1542:
1502:
1311:
1298:
1283:
1227:
1192:
1175:
1171:
1147:
1103:
1071:
960:
916:
908:
889:
734:
661:
657:
640:
537:
503:
5063:
2209:
The theoretical underpinning of this group was established by the curator
1008:
artists, survivors of the Armenian genocide, to renovate the tiles of the
615:
6031:
5996:
5946:
5936:
5906:
5896:
5866:
5861:
5851:
5760:
5571:
5536:
5491:
5486:
5395:
5014:
5009:
4989:
4952:
4926:
4769:
4753:
3008:
2996:
2855:
2835:
2735:
2696:
2411:
2350:
2323:
2307:
2274:
2246:
2194:
2174:
2140:
1993:
1740:
1639:, arriving there in 1920 after having heard of it from passengers on the
1607:
1581:
1452:
1440:
1247:
1123:
1048:
1017:
972:
896:
885:
810:
782:
749:
742:
720:"Hebron", homemade glazed tiles made at the ceramics workshop at Bezalel.
700:
518:
4400:
Michal Neeman, "Kindly Don't Read What's Written Here", 2, 1999, p. 104.
3624:"Les peintres juifs de " l'Ćcole de Paris " imposent leur gĆ©nie au MahJ"
2940:
931:
in their works. The group held an exhibition in 1929 in an apartment on
5991:
5921:
5886:
5816:
5039:
5019:
4994:
4680:
3044:
2863:
2851:
2826:
2779:
2500:
2469:
2225:
2136:
2016:
1958:
1931:
1827:
1807:
1791:
1560:
had long attracted artists due to its mystical and romantic qualities.
1475:
the influence of the Canaanite movement was evident in the art of the "
1405:
1291:
1131:
794:
730:
588:
Different art movements aroused in Israel, including the Canaanite and
541:
81:
4563:(Masada Publishers, Tel Aviv, 1980), pp. 238ā240. Also: Gideon Efrat,
2881:, in which he "erased", as it were, all remnants of the Arab village.
2270:
1675:
settled in Safed for periods of time, specifically during the summer.
1223:
672:. This school opened departments for the production of art objects in
5976:
5901:
5802:
5029:
4999:
3123:
3086:
2912:
In the press as well photography sometimes acquired a new aspect, as
2906:
2819:
2809:
moved from conceptual and minimalistic sculpture to painting full of
2574:
2463:
2221:
2202:
2121:
2027:
1986:
1799:
1728:
1420:
1378:
1115:
1005:
964:
786:
684:
544:
throughout the ages and attempts to formulate a national identity.
3758:
2995:
of images of people and which produced a primitive-primeval effect.
2508:
One of the first projects carried out in Israel under the banner of
1942:". This activity culminated in the founding of the artists' village
716:
6026:
5024:
5004:
4710:
Art in Zion: The Genesis of Modern National Art in Jewish Palestine
3108:
2944:
2859:
2794:, which defined the post modernist spirit in art around the world.
2552:
1954:
1787:
1724:
1720:
1530:
1514:
1208:
1111:
1091:
952:
706:
632:
4202:
Mordechai Omer, Zaritzky (Tel Aviv Museum, Tel Aviv, 1984), p. 86.
2719:
Joshua Neustein, "Still Life On The Border", Tel-Hai, Israel, 1983
1623:
would walk the streets and paint portraits of religious children.
4984:
4947:
4382:
This format became fixed predominantly from the end of the 1980s.
3471:
3055:
2873:
2810:
2775:
2675:
2525:
2178:
2020:
1943:
1565:
1259:
1025:
864:
845:
738:
726:
680:
styles, produced by combining manual labor with modern machines.
677:
88:
40:
4300:
See: Sara Breitling-Semel, "Agrippas vs. Nimrod", Kav, 9, p. 99.
1862:, as well as movement founders Zaritsky, Streichman and Feigin.
947:
of these works is sometimes called the "Land of Israel School".
4979:
4590:(Stavit Publishing House, 1986, unnumbered pages. (in Hebrew)).
3759:"Between Paris and Tel Aviv: Jewish art in 1930s Eretz Yisrael"
3744:
Eretz Israeli Painting in the 1930s: between Tel Aviv and Paris
2626:
1522:
1464:
1424:
1307:
1183:
1158:
1095:
1077:
928:
856:." One of the most prominent of these artists was the sculptor
765:
692:
561:
93:
5364:
4895:
1806:
founding of the state in 1948. Members of the school included
1428:
create a Hebrewāspeaking nation with an independent identity.
4962:
4181:(Reshefim Publishers, Tel Aviv, 1980), pp. 16ā17 (in Hebrew).
3103:
2382:
2011:
Zvi Meirovich, "Panda", oil pastel on paper, 39 x 39 cm, 1971
1632:
1561:
1557:
1526:
1510:
1509:, Rosentalis, Shimshon Holzman and others made their home in
1494:
1401:
1218:
1188:
1114:
became in time the focal point of Israeli art and culture in
1094:. There he would teach students the techniques he learned in
1021:
579:
5771:
4603:(Tel Aviv Museum, Tel Aviv, 1988), pp. 141ā152. (In Hebrew).
4601:
The Eyes of the State: Visual Art in a State Without Borders
4531:
The Eyes of the State: Visual Art in a State Without Borders
4492:
The Eyes of the State: Visual Art in a State Without Borders
3002:
In works such as "Temple Mount" (1995) or "Country" (2002),
2625:
The landscape as a space for performance and expressions of
1118:
place. Students that learned in the Tel Aviv studio include
1881:
In the field of sculpture, the group introduced new media.
741:
institutions. At Bezalel emphasis was placed on objects of
4533:(Tel Aviv Museum, Tel Aviv, 1988), pp. 88ā89. (In Hebrew).
863:
The monument "The Roaring Lion" which Melnikov erected at
4942:
3407:
Artists and art of the Land of Israel in the 19th Century
3370:
Art and Artisan in the Land of Israel in the 19th Century
2566:
4588:"The Heart of Things", Gideon Gechtman, Works, 1971ā1986
4363:(Ashdod Museum of Art, Ashdod, 2008), p. 78 (In Hebrew).
3896:
3894:
3833:
Photography in the Land of Israel in the 1930s and 1940s
2670:
One of the leading artists in this protest movement was
1323:
establishment, under the auspices of groups such as the
4752:
4323:(The Israel Museum, Jerusalem, 1984), p.11 (In Hebrew).
4254:(Museum of Art Ein Harod, 2008), pp. 22ā23 (In Hebrew).
2782:, and the fashionable expressive style, also known as "
2573:
to create a space immortalizing the fallen soldiers of
2173:" appeared on the scene. This group, led by the artist
1698:
is evident. Safed was also the home of artists such as
4494:(Tel Aviv Museum, Tel Aviv, 1988), 26ā32. (In Hebrew).
4567:(Museum of Art, Ein Harod, 1986), p. 35. (In Hebrew).
4321:
Moshe Kupferman: Paintings, Works on Paper, 1963ā1984
3891:
2528:
neighborhood between the St. Clare Monastery and the
2504:
Avital Geva, "Greenhouse", Ein-Shemer Kibbutz, Israel
1671:
and others painters not directly affiliated with the
560:
In the 1920s and 1930s, many Jewish painters fleeing
2054:
824:
664:. Objects of applied art were produced also at the "
4241:(Museum of Art Ein Harod, 2008), p. 21 (In Hebrew).
2265:
1977:During the 1950s, 1960s and 1970s, the work of the
1750:
1020:began in the 15th century in the Turkish cities of
756:" movement. In the logo of the quarterly magazine "
668:" ("Torah and Work") school founded in 1882 by the
4507:(HaKibbutz HaMeuhad, Tel Aviv, 1982). (In Hebrew).
4427:Kits of stick-on letters for various graphic uses.
3666:Treasured in the Heart: Haim Gliksberg's Portraits
1972:
1834:for an exhibit called "The Group of Seven" at the
1432:pro-Archaic style was an expression of symbolism.
4550:(Masada Publishers, Tel Aviv, 1981). (In Hebrew).
3390:Gideon Ofrat, "First Starts: Torah and Work", in
3381:Haviva Peled, "Seven Artists", in Fischer (1979).
3067:
619:Temple mount map and buildings, late 19th century
6149:
4228:(Ashdod Museum of Art, 2008), p. 10 (In Hebrew).
3651:The Birth of Secular Art from the Zionist Spirit
3499:(Yad Yitzhak Ben-Zvi, Jerusalem, 2002), pp.29ā52
2778:" style, the "Pop Art" style of artists such as
2290:Conceptual Post-Minimalist Installation artists
1482:
1358:, who specialized in architectural photography.
1294:, most of whom studied at some point in France.
1031:The central artist during these first years was
1004:government extended an invitation to a group of
785:sculpture and in particular by the sculpture of
1885:, Dov Feigin, and, after a sojourn in Britain,
1319:angles of observation inspired by photography.
725:"Bezalel School of Arts and Crafts," known as "
506:(The Moshe Castel Museum of Art, Maale Adummim)
3870:(Masada Publishing, 1980), p. 134 (in Hebrew).
1706:movement painted and work in Safed, including
1297:One sculptor who was influenced by Cubism was
643:. In the Jewish settlements artists worked at
5787:
5380:
5079:
4911:
4738:
4642:"Meromi in the online exhibition "Real Time""
4252:The First Decade: Hegemony and Multiciplicity
4239:The First Decade: Hegemony and Multiciplicity
4166:The First Decade: Hegemony and Multiciplicity
3707:(in English and Hebrew). Israel. p. 13.
3162:"A Century of Israeli Art, on View in Berlin"
3156:
3154:
2813:(thickly laid on paint) in which he combined
2131:
1552:
595:
476:
4168:(Museum of Art Ein Harod, 2008) (In Hebrew).
3702:
3653:(in Hebrew). Jerusalem: Carmel. p. 234.
3249:
1934:, showing youth living the socialist dream.
1086:'s return from Paris in 1925, he opened the
1078:Modern art, the School of Paris and Tel Aviv
748:At the art school the influence of European
5093:
3062:
2258:In spite of clear feminist connections, in
5794:
5780:
5387:
5373:
5086:
5072:
4918:
4904:
4745:
4731:
4361:The Birth of Now: The 1960s in Israeli Art
4226:The Birth of Now: The 1960s in Israeli Art
4015:Yosl Bergner: Art as a meeting of Cultures
3998:: CS1 maint: location missing publisher (
3727:: CS1 maint: location missing publisher (
3688:: CS1 maint: location missing publisher (
3274:: CS1 maint: location missing publisher (
3151:
2516:. In 1970, Neustein was collaborated with
1493:During the 1950s, the 1960s and the 1970s
1219:Between East and West: The 1930s and 1940s
483:
469:
4359:See: Yona Fischer, Tamar Manor-Friedman,
4272:See: Gila Blass, New Horizons, pp. 95ā96.
4039:"××פק×× ××ש××: ××××”×£ עפ×Ø×Ŗ ××××”×£ ×××× (×)"
1900:
1771:, Naan, The Painter and the Model, 1949,
4012:
3945:(in Hebrew). Tel Aviv: Sifriat HaPoalim.
3290:"Estimation et cote de Alexandre Frenel"
2956:
2939:
2916:, in the works of photographers such as
2756:
2744:
2730:
2714:
2612:
2608:
2499:
2482:
2468:
2461:Monument to the Negev Brigade, 1963ā1968
2452:
2433:
2381:
2349:
2269:
2152:
2135:
2058:
2006:
1786:
1778:
1763:
1400:
1382:
1233:
1222:
989:
834:
737:with the support of heads of Jewish and
715:
614:
599:
509:
494:
3809:(Sifria Zionit, Jerusalem, 2008), p.67.
1178:and others. Following their studied in
985:
6150:
4237:Cited in: Galia Bar-Or, Gideon Efrat,
3973:
3805:Gideon Efrat, "Anorexia Artistica" in
3517:
3433:Art and Artisans, Roots and Boundaries
2935:
1783:Zvi Meirovich, gouache, 70x50 cm, 1961
1631:The first artist to visit and work in
1614:and others who were influenced by the
880:in Jerusalem's Old City, organized by
789:. A different spirit entirely brought
707:Art of "The Land of Israel", 1906ā1932
5775:
5368:
5067:
4899:
4726:
4263:See: Gila Blass, New Horizons, p. 29.
3954:
3952:
3940:
3756:
3663:
3648:
2872:presented a critical view of Israeli
1372:
687:". The motive behind these works was
4224:Yona Fischer, Tamar Manor-Friedman,
3444:Granot in Canaan-Kedar (2003), p.129
3435:(2003, Tel Aviv Faculty of the Arts)
3313:
3311:
3245:
3243:
3241:
3239:
3237:
3235:
3233:
3231:
3229:
3227:
3200:
3198:
3196:
2965:The Recorder of Days and Fruit, 2002
4755:Art museums and galleries in Israel
3943:The Golden Age of Painting in Safed
3928:The Artists' of the 1920 and Cubism
2977:Herzliya Museum of Contemporary Art
2645:In his work "Via Dolorosa" (1973),
892:in Tel Aviv between 1926 and 1929.
13:
4702:
4548:Wood, Stone, and Cloth in the Wind
3949:
3925:
3518:Lipton, Eunice (19 January 2002).
3372:(1979, Israel Museum) (in Hebrew).
3176:"Yitzhak Alexander Frenkel Frenel"
2621:Exposure (Installation view), 1975
1897:, Aharon Kahana and Yehiel Simon.
14:
6179:
4250:See: Galia Bar-Or, Gideon Efrat,
4164:See: Galia Bar-Or, Gideon Efrat,
3958:
3741:
3308:
3254:(in English and Hebrew). Israel.
3224:
3193:
2449:, "Jerusalem River Project", 1970
2169:In the mid-1960s a group called "
2055:Local art between wars, 1967ā1982
1262:". The considerable influence of
1251:structures", German art and the "
825:Land of Israel modernism movement
764:, we see within the ornate frame
5755:
5746:
5745:
3457:(2008, Israel Museum, Jerusalem)
2948:Untitled (The Last Supper), 1999
2661:
2512:was implemented by the sculptor
2266:Post-conceptual art in the 1970s
2042:, who had studied painting with
1893:movement. These included Janco,
1751:Avant-garde: the 1950s and 1960s
1678:
450:
39:
5394:
4925:
4719:, Sternberg Press, Berlin, 2013
4673:
4648:
4634:
4625:
4616:
4606:
4593:
4580:
4570:
4553:
4544:Onward: The East in Israeli Art
4536:
4523:
4510:
4497:
4484:
4475:
4466:
4457:
4448:
4439:
4430:
4421:
4412:
4403:
4394:
4385:
4376:
4366:
4353:
4344:
4335:
4326:
4313:
4303:
4294:
4284:
4275:
4266:
4257:
4244:
4231:
4218:
4205:
4196:
4184:
4171:
4158:
4133:
4108:
4083:
4057:
4031:
4006:
3967:
3934:
3919:
3882:
3873:
3860:
3847:
3838:
3825:
3812:
3799:
3786:
3757:Manor, Dalia (1 January 2018).
3750:
3735:
3696:
3657:
3642:
3616:
3571:
3545:
3511:
3502:
3489:
3477:
3460:
3447:
3438:
3425:
3412:
3399:
3384:
3206:"×צ×ק פ×Ø× ×§×: "×××××Ø ××× ×¢×¦×××""
2430:"Place", "concept" and "action"
1973:Abstract art after New Horizons
1759:
1592:which attracted naturalist and
1157:'s influence on the art of the
745:with a metaphysical dimension.
564:in Europe settled in Tel Aviv.
6117:British Indian Ocean Territory
5713:British Indian Ocean Territory
3853:Amos Kenan, "Greater Israel",
3508:Kenaan-Kedar (2002), pp.53ā91.
3497:Armenian Ceramics in Jerusalem
3396:, 103, Summer 2008 (in Hebrew)
3375:
3362:
3337:
3282:
3168:
3068:Between Israeli and Jewish art
3059:Supper" of Leonardo da Vinci.
2767:impression on newspaper no.XIV
2479:The Yarkon Park, Tel Aviv-Yafo
2091:
1202:One of the main themes of the
1039:(1923), the fountain base for
670:Alliance IsraƩlite Universelle
1:
5801:
3976:L'Histoire de l'Impressionism
3857:, 19 August 1977 (in Hebrew).
3807:Washington Crosses the Jordan
3144:
2569:saplings were planted in the
1521:Frenel would commute between
1483:The Artists' Quarter of Safed
1041:Saint John Eye Hospital Group
3963:(in Hebrew). pp. 89ā90.
3961:The Art and Artists of Safed
3139:List of public art in Israel
2905:, etc. At the Museum of Art
2726:
2068:He Walked through the Fields
118:IsraeliāPalestinian conflict
7:
4520:, 22, 7, 1977. (In Hebrew).
3420:Jerusalem 1861: Impressions
3409:(1992, Yad Yitzhak Ben-Zvi)
3325:(in French). 2 January 2019
3323:Bureau dāart Ecole de Paris
3212:(in Hebrew). 1 January 2011
3092:
1965:, Joel Tal-Mor, as well as
1306:. Instead of making use of
843:The Roaring Lion, 1928ā1934
552:In 19th century Palestine,
10:
6184:
3835:(Kibbutz Hameuchad, 2000).
3520:"The glory that was Paris"
3467:Of stone and schizophrenia
1626:
1553:Safed's Artistic Qualities
1486:
1376:
935:in Tel Aviv, opposite the
828:
711:
649:Moshe Ben Yitzhak Mizrachi
631:), produced for religious
596:19th century ā early 1900s
547:
130:IranāIsrael proxy conflict
6105:
6065:
5809:
5741:
5700:
5660:
5402:
5101:
5048:
4933:
4867:
4851:
4835:
4814:
4793:
4762:
4712:, Routledge, London, 2005
3794:Theory of the Avant Garde
3705:After the School Of Paris
3252:After the School Of Paris
2358:, Herzeliyah Museum, 2000
1588:group on the outskirt of
1537:, whose members included
1415:In 1943 the Israeli poet
1043:, the domed entry of the
5872:East Timor (Timor-Leste)
5462:East Timor (Timor-Leste)
4561:The Story of Israeli Art
4017:. Melbourne: Macmillan.
4013:Kleppner, Frank (2004).
3868:The Story of Israeli Art
3822:(Hazvi, Tel Aviv, 1955).
3063:Contemporary Israeli art
2862:beach. Another painter,
2161:Anal, Banal, Canal, 1978
1734:
1489:Artists Quarter of Safed
1241:, Human hands, 1933ā1940
803:Arnold (Aaron) Lachovsky
536:refers to visual art or
298:Artists Quarter of Safed
6127:Cocos (Keeling) Islands
5723:Cocos (Keeling) Islands
5095:Visual art of the World
3902:"FRENKEL FRENEL MUSEUM"
3844:Sela (2000), pp. 40ā67.
1826:. The work of sculptor
1684:Safed's Artists Quarter
1290:(Constantinovsky), and
5053:List of artistic media
4822:Tel Aviv Museum of Art
4685:The Jerusalem Biennale
4660:The Jerusalem Biennale
4559:See: Benjamin Tammuz,
3941:Ofrat, Gideon (1987).
3906:www.frenkel-frenel.org
3774:Cite journal requires
3649:Ofrat, Gideon (2012).
3180:www.frenkel-frenel.org
3114:Yitzhak Frenkel Frenel
3074:The Jerusalem Biennale
2968:
2954:
2786:", of artists such as
2770:
2754:
2742:
2720:
2622:
2505:
2497:
2480:
2466:
2450:
2391:
2359:
2287:
2166:
2164:Tel Aviv Museum of Art
2150:
2071:
2012:
1901:Realism and social art
1836:Tel Aviv Museum of Art
1802:
1784:
1776:
1499:Yitzhak Frenkel Frenel
1412:
1398:
1397:, Jerusalem Collection
1242:
1231:
1191:, specifically in the
1088:Histadrut's art studio
1056:Megherdich Karakashian
997:
848:
721:
624:
612:
526:
507:
4775:Frenkel Frenel Museum
3974:Rewald, John (1955).
3703:Hecht Museum (2013).
3250:Hecht Museum (2013).
2960:
2943:
2760:
2748:
2734:
2718:
2616:
2609:Identity and the body
2503:
2486:
2472:
2456:
2437:
2385:
2353:
2273:
2156:
2139:
2062:
2046:(Aptaker), Zaritsky,
2010:
1796:Mishkan Museum of Art
1790:
1782:
1767:
1745:Frenkel Frenel Museum
1404:
1386:
1237:
1226:
1037:American Colony Hotel
993:
854:Tower of David Period
838:
813:(Ophel), and others.
719:
618:
609:Beduin violin players
603:
530:Visual arts in Israel
513:
498:
293:Visual arts in Israel
113:ArabāIsraeli conflict
6042:United Arab Emirates
5637:United Arab Emirates
4880:Ashdod Museum of Art
4656:"Vision and Mission"
4542:See: Yigal Zalmona,
4069:www.montefiore.co.il
3978:(in French). Paris.
3831:Rona Sela (editor),
3820:Ben-Zvi the Sculptor
3796:(Rasling, Tel Aviv).
3628:fr.timesofisrael.com
3557:stedelijkstudies.com
3495:Nurit Canaan-Kedar,
2973:Sara Breitberg-Semel
2967:(from "The Country")
2846:and the outbreak of
2211:Sara Breitberg-Semel
2114:Hayyim Nahman Bialik
1333:Yaakov (Jack) Rosner
1325:Jewish National Fund
1128:Yechezkel Streichman
986:Armenian ceramic art
799:Ephraim Moses Lilien
515:Carob tree boulevard
407:World Heritage Sites
67:Second Temple period
6067:States with limited
5664:limited recognition
4875:Negev Museum of Art
4780:Marcel Janco Museum
4599:See: Ellen Ginton,
4586:See: Gideon Efrat,
4529:See: Ellen Ginton,
4490:See: Ellen Ginton,
4193:, 12 February 1947.
4043:××××”× ×©× ×××¢×× ×¢×¤×Ø×Ŗ
3746:. pp. 186ā187.
3664:Lurie, Aya (2005).
3405:Yehoshua Ben Arie,
3210:××××”× ×©× ×××¢×× ×¢×¤×Ø×Ŗ
2936:The 1990s and after
2741:Kunsthalle, Manheim
2284:Tel Aviv University
1824:Yehezkel Streichman
1653:war of Independence
1016:Movement. Armenian
911:, Yossef Zaritsky,
901:Pinchas Litvinovsky
886:Shmuel (Ophel) Levy
867:, in memory of the
656:, and views of the
623:private collection.
577:Artist's Quarter of
4885:Arad Museum of Art
3486:, 18 December 1925
3319:"Alexandre Frenel"
2969:
2955:
2914:staged photography
2771:
2769:private collection
2765:from tsoba, 1993-4
2755:
2743:
2721:
2623:
2506:
2498:
2481:
2467:
2451:
2392:
2360:
2288:
2167:
2151:
2085:The Yom Kippur War
2072:
2013:
1803:
1785:
1777:
1413:
1399:
1373:Canaanite movement
1350:, and the sisters
1344:Alfons Himmelreich
1243:
1232:
1068:Stepan Karakashian
1045:Rockefeller Museum
998:
995:Rockefeller Museum
944:Post-Impressionist
849:
791:Samuel Hirszenberg
722:
625:
613:
527:
508:
6163:Culture of Israel
6145:
6144:
6109:other territories
5769:
5768:
5706:other territories
5362:
5361:
5061:
5060:
5035:Site-specific art
4893:
4892:
4827:Ilana Goor Museum
4565:Beit Avraham Ofek
4211:See: Gila Blass,
4141:"Yitzhak Frenkel"
3866:Benjamin Tammuz,
3604:Missing or empty
3559:. 31 October 2019
3345:"Yitzhak Frenkel"
3099:Israeli sculpture
3054:The photographer
2830:painters such as
2680:Khirbat al-Mafjar
2672:Pinchas Cohen Gan
2542:Book of Zechariah
2356:Ash City Bne Brak
2354:Joshua Neustein,
2336:Pinchas Cohen Gan
2316:Yocheved Weinfeld
1820:Avigdor Stematsky
1645:Mordechai Levanon
1576:communities, the
1547:Mordechai Levanon
1517:, others such as
1411:Tefen Open Museum
1348:Tim (Nahum) Gidal
1276:Moses Sternschuss
1211:and its bohemian
1140:Mordechai Levanon
1108:Avigdor Stematsky
1033:David Ohannessian
897:Arieh (Leo) Lubin
869:battle of Tel Hai
831:Battle of Tel Hai
666:Torah ve-Melakhah
493:
492:
457:Israel portal
32:Culture of Israel
6175:
6122:Christmas Island
6107:Dependencies and
5810:Sovereign states
5796:
5789:
5782:
5773:
5772:
5759:
5749:
5748:
5718:Christmas Island
5404:Sovereign states
5389:
5382:
5375:
5366:
5365:
5275:Papua New Guinea
5088:
5081:
5074:
5065:
5064:
4920:
4913:
4906:
4897:
4896:
4756:
4747:
4740:
4733:
4724:
4723:
4696:
4695:
4693:
4691:
4677:
4671:
4670:
4668:
4666:
4652:
4646:
4645:
4638:
4632:
4629:
4623:
4620:
4614:
4610:
4604:
4597:
4591:
4584:
4578:
4574:
4568:
4557:
4551:
4540:
4534:
4527:
4521:
4514:
4508:
4501:
4495:
4488:
4482:
4479:
4473:
4470:
4464:
4461:
4455:
4452:
4446:
4443:
4437:
4434:
4428:
4425:
4419:
4416:
4410:
4407:
4401:
4398:
4392:
4389:
4383:
4380:
4374:
4370:
4364:
4357:
4351:
4348:
4342:
4339:
4333:
4330:
4324:
4317:
4311:
4307:
4301:
4298:
4292:
4288:
4282:
4279:
4273:
4270:
4264:
4261:
4255:
4248:
4242:
4235:
4229:
4222:
4216:
4209:
4203:
4200:
4194:
4188:
4182:
4175:
4169:
4162:
4156:
4155:
4154:
4152:
4137:
4131:
4130:
4129:
4127:
4122:, 12 August 2019
4112:
4106:
4105:
4104:
4102:
4087:
4081:
4080:
4078:
4076:
4061:
4055:
4054:
4052:
4050:
4035:
4029:
4028:
4010:
4004:
4003:
3997:
3989:
3971:
3965:
3964:
3956:
3947:
3946:
3938:
3932:
3931:
3923:
3917:
3916:
3914:
3912:
3898:
3889:
3886:
3880:
3877:
3871:
3864:
3858:
3855:Yedioth Aharonot
3851:
3845:
3842:
3836:
3829:
3823:
3816:
3810:
3803:
3797:
3790:
3784:
3783:
3777:
3772:
3770:
3762:
3754:
3748:
3747:
3739:
3733:
3732:
3726:
3718:
3700:
3694:
3693:
3687:
3679:
3661:
3655:
3654:
3646:
3640:
3639:
3637:
3635:
3620:
3614:
3613:
3607:
3602:
3600:
3592:
3590:
3588:
3575:
3569:
3568:
3566:
3564:
3549:
3543:
3542:
3540:
3538:
3515:
3509:
3506:
3500:
3493:
3487:
3481:
3475:
3464:
3458:
3453:Chaya Benjamin,
3451:
3445:
3442:
3436:
3429:
3423:
3416:
3410:
3403:
3397:
3388:
3382:
3379:
3373:
3366:
3360:
3359:
3358:
3356:
3341:
3335:
3334:
3332:
3330:
3315:
3306:
3305:
3303:
3301:
3286:
3280:
3279:
3273:
3265:
3247:
3222:
3221:
3219:
3217:
3202:
3191:
3190:
3188:
3186:
3172:
3166:
3165:
3158:
2989:Israel Hershberg
2844:1982 Lebanon War
2631:Ilana Tannenbaum
2560:Yitzhak Danziger
2518:Georgette Batlle
2477:Serpentine, 1975
2474:Yitzhak Danziger
2447:Georgette Batlle
2390:Levitation, 1976
2132:"Want of Matter"
1940:Hashomer Hatzair
1794:, Growth, 1959,
1651:. Following the
1507:Shalom Moskovitz
1461:Mordechai Gumpel
1272:Aristide Maillol
1144:Joseph Kossonogi
1136:Shimshon Holzman
1010:Dome of the Rock
858:Avraham Melnikov
840:Avraham Melnikov
485:
478:
471:
455:
454:
453:
254:Eastern Orthodox
43:
34:
18:
17:
6183:
6182:
6178:
6177:
6176:
6174:
6173:
6172:
6148:
6147:
6146:
6141:
6110:
6108:
6101:
6082:Northern Cyprus
6070:
6068:
6061:
5852:Burma (Myanmar)
5805:
5800:
5770:
5765:
5737:
5705:
5696:
5677:Northern Cyprus
5663:
5656:
5398:
5393:
5363:
5358:
5265:North Macedonia
5097:
5092:
5062:
5057:
5044:
4975:Decorative arts
4929:
4924:
4894:
4889:
4863:
4847:
4831:
4810:
4789:
4758:
4754:
4751:
4705:
4703:Further reading
4700:
4699:
4689:
4687:
4679:
4678:
4674:
4664:
4662:
4654:
4653:
4649:
4640:
4639:
4635:
4630:
4626:
4621:
4617:
4611:
4607:
4598:
4594:
4585:
4581:
4575:
4571:
4558:
4554:
4541:
4537:
4528:
4524:
4515:
4511:
4502:
4498:
4489:
4485:
4480:
4476:
4471:
4467:
4462:
4458:
4453:
4449:
4444:
4440:
4435:
4431:
4426:
4422:
4417:
4413:
4408:
4404:
4399:
4395:
4390:
4386:
4381:
4377:
4371:
4367:
4358:
4354:
4349:
4345:
4340:
4336:
4331:
4327:
4318:
4314:
4308:
4304:
4299:
4295:
4289:
4285:
4280:
4276:
4271:
4267:
4262:
4258:
4249:
4245:
4236:
4232:
4223:
4219:
4210:
4206:
4201:
4197:
4191:Davar Ha-Shavua
4189:
4185:
4176:
4172:
4163:
4159:
4150:
4148:
4147:, 9 August 2019
4139:
4138:
4134:
4125:
4123:
4114:
4113:
4109:
4100:
4098:
4097:, 8 August 2019
4089:
4088:
4084:
4074:
4072:
4063:
4062:
4058:
4048:
4046:
4037:
4036:
4032:
4025:
4011:
4007:
3991:
3990:
3986:
3972:
3968:
3959:Ofrat, Gideon.
3957:
3950:
3939:
3935:
3924:
3920:
3910:
3908:
3900:
3899:
3892:
3887:
3883:
3878:
3874:
3865:
3861:
3852:
3848:
3843:
3839:
3830:
3826:
3817:
3813:
3804:
3800:
3791:
3787:
3775:
3773:
3764:
3763:
3755:
3751:
3742:Ofrat, Gideon.
3740:
3736:
3720:
3719:
3715:
3701:
3697:
3681:
3680:
3676:
3662:
3658:
3647:
3643:
3633:
3631:
3622:
3621:
3617:
3605:
3603:
3594:
3593:
3586:
3584:
3579:kotar.cet.ac.il
3577:
3576:
3572:
3562:
3560:
3551:
3550:
3546:
3536:
3534:
3516:
3512:
3507:
3503:
3494:
3490:
3482:
3478:
3465:
3461:
3452:
3448:
3443:
3439:
3430:
3426:
3417:
3413:
3404:
3400:
3389:
3385:
3380:
3376:
3367:
3363:
3354:
3352:
3343:
3342:
3338:
3328:
3326:
3317:
3316:
3309:
3299:
3297:
3288:
3287:
3283:
3267:
3266:
3262:
3248:
3225:
3215:
3213:
3204:
3203:
3194:
3184:
3182:
3174:
3173:
3169:
3164:. 17 June 2005.
3160:
3159:
3152:
3147:
3134:Israeli Cuisine
3095:
3070:
3065:
3025:Gideon Gechtman
2966:
2964:
2949:
2947:
2938:
2879:Joseph Zaritsky
2792:Julian Schnabel
2768:
2766:
2764:
2752:
2750:Gideon Gechtman
2740:
2738:
2729:
2664:
2655:Gideon Gechtman
2620:
2618:Gideon Gechtman
2611:
2603:Shmuel Ackerman
2599:Michail Grobman
2534:Book of Ezekiel
2514:Joshua Neustein
2492:
2490:
2478:
2476:
2462:
2460:
2439:Joshua Neustein
2432:
2400:Ariella Azoulay
2389:
2296:Joshua Neustein
2286:, Tel Aviv-Yafo
2282:
2277:
2268:
2162:
2160:
2145:
2143:
2134:
2110:Berthold Brecht
2094:
2081:The Six-Day War
2066:
2057:
2048:Alexander Bogen
2040:Moshe Kupferman
1998:Moshe Kupferman
1979:Ofakim Hadashim
1975:
1908:Mordechai Ardon
1903:
1895:Alexander Bogen
1887:Itzhak Danziger
1856:Avshalom Okashi
1832:Joseph Zaritsky
1769:Joseph Zaritsky
1762:
1753:
1737:
1704:Ofakim Hadashim
1681:
1673:School of Paris
1629:
1555:
1535:School of Paris
1519:Yitzhak Frenkel
1491:
1485:
1449:Benjamin Tammuz
1437:Itzhak Danziger
1410:
1408:
1392:
1390:
1388:Itzhak Danziger
1381:
1375:
1304:Tel Aviv Museum
1302:exhibit at the
1288:Joseph Constant
1280:Rafael Chamizer
1253:New Objectivity
1230:, Aharon Meskin
1221:
1155:School of Paris
1080:
1064:Hisham's Palace
1014:Arts and Crafts
1002:British Mandate
988:
913:Chaim Gliksberg
882:Joseph Zaritsky
844:
842:
833:
827:
760:", designed by
754:Arts and Crafts
714:
709:
622:
620:
607:
598:
569:Yitzhak Frenkel
550:
489:
451:
449:
442:
441:
437:National anthem
422:
421:
412:
411:
402:
401:
385:
384:
355:
354:
343:
342:
337:
336:
334:performing arts
321:
320:
315:
314:
303:
302:
283:
282:
271:
270:
212:
211:
179:
178:
173:
172:
149:
148:
147:
146:
101:British mandate
55:
54:
30:
12:
11:
5:
6181:
6171:
6170:
6168:Art by country
6165:
6160:
6143:
6142:
6140:
6139:
6134:
6129:
6124:
6119:
6113:
6111:
6106:
6103:
6102:
6100:
6099:
6094:
6089:
6084:
6079:
6073:
6071:
6066:
6063:
6062:
6060:
6059:
6054:
6049:
6044:
6039:
6034:
6029:
6024:
6019:
6014:
6009:
6004:
5999:
5994:
5989:
5984:
5979:
5974:
5969:
5964:
5959:
5954:
5949:
5944:
5939:
5934:
5929:
5924:
5919:
5914:
5909:
5904:
5899:
5894:
5889:
5884:
5879:
5874:
5869:
5864:
5859:
5854:
5849:
5844:
5839:
5834:
5829:
5824:
5819:
5813:
5811:
5807:
5806:
5799:
5798:
5791:
5784:
5776:
5767:
5766:
5764:
5763:
5753:
5742:
5739:
5738:
5736:
5735:
5730:
5725:
5720:
5715:
5709:
5707:
5698:
5697:
5695:
5694:
5689:
5684:
5679:
5674:
5668:
5666:
5658:
5657:
5655:
5654:
5649:
5644:
5639:
5634:
5629:
5624:
5619:
5614:
5609:
5604:
5599:
5594:
5589:
5584:
5579:
5574:
5569:
5564:
5559:
5554:
5549:
5544:
5539:
5534:
5529:
5524:
5519:
5514:
5509:
5504:
5499:
5494:
5489:
5484:
5479:
5474:
5469:
5464:
5459:
5454:
5449:
5444:
5439:
5434:
5429:
5424:
5419:
5414:
5408:
5406:
5400:
5399:
5392:
5391:
5384:
5377:
5369:
5360:
5359:
5357:
5352:
5347:
5342:
5337:
5335:United Kingdom
5332:
5327:
5322:
5317:
5312:
5307:
5302:
5297:
5292:
5287:
5282:
5277:
5272:
5267:
5262:
5257:
5252:
5247:
5242:
5237:
5232:
5227:
5222:
5217:
5212:
5207:
5202:
5197:
5192:
5187:
5182:
5177:
5172:
5167:
5162:
5157:
5152:
5147:
5142:
5137:
5132:
5127:
5122:
5117:
5112:
5107:
5102:
5099:
5098:
5091:
5090:
5083:
5076:
5068:
5059:
5058:
5056:
5055:
5049:
5046:
5045:
5043:
5042:
5037:
5032:
5027:
5022:
5017:
5012:
5007:
5002:
4997:
4992:
4987:
4982:
4977:
4972:
4971:
4970:
4960:
4955:
4950:
4945:
4940:
4934:
4931:
4930:
4923:
4922:
4915:
4908:
4900:
4891:
4890:
4888:
4887:
4882:
4877:
4871:
4869:
4865:
4864:
4862:
4861:
4855:
4853:
4852:Central Region
4849:
4848:
4846:
4845:
4839:
4837:
4833:
4832:
4830:
4829:
4824:
4818:
4816:
4812:
4811:
4809:
4808:
4803:
4797:
4795:
4791:
4790:
4788:
4787:
4785:Ein Hod Museum
4782:
4777:
4772:
4766:
4764:
4760:
4759:
4750:
4749:
4742:
4735:
4727:
4721:
4720:
4717:Neomaterialism
4715:Joshua Simon,
4713:
4704:
4701:
4698:
4697:
4672:
4647:
4633:
4624:
4615:
4605:
4592:
4579:
4569:
4552:
4535:
4522:
4509:
4496:
4483:
4474:
4465:
4456:
4447:
4438:
4429:
4420:
4411:
4402:
4393:
4384:
4375:
4365:
4352:
4343:
4334:
4325:
4312:
4302:
4293:
4283:
4274:
4265:
4256:
4243:
4230:
4217:
4204:
4195:
4183:
4170:
4157:
4132:
4107:
4082:
4056:
4030:
4023:
4005:
3985:978-2012793743
3984:
3966:
3948:
3933:
3926:Ballas, Gila.
3918:
3890:
3881:
3872:
3859:
3846:
3837:
3824:
3811:
3798:
3785:
3776:|journal=
3749:
3734:
3713:
3695:
3675:978-9657161234
3674:
3656:
3641:
3615:
3570:
3544:
3510:
3501:
3488:
3476:
3459:
3446:
3437:
3424:
3411:
3398:
3383:
3374:
3368:Yona Fischer,
3361:
3336:
3307:
3281:
3260:
3223:
3192:
3167:
3149:
3148:
3146:
3143:
3142:
3141:
3136:
3131:
3129:Israeli Cinema
3126:
3121:
3116:
3111:
3106:
3101:
3094:
3091:
3083:Motti Mizrachi
3079:Sigalit Landau
3069:
3066:
3064:
3061:
3016:Philip Rantzer
3004:Sigalit Landau
2962:Sigalit Landau
2937:
2934:
2918:Micha Kirshner
2903:Deganit Berest
2899:Simcha Shirman
2895:Yigal Shem Tov
2870:Larry Abramson
2850:. The painter
2848:First Intifada
2832:Isaac Golombek
2807:Moshe Gershuni
2803:Michal Na'aman
2788:Georg Baselitz
2762:Larry Abramson
2728:
2725:
2663:
2660:
2647:Motti Mizrachi
2636:Moshe Gershuni
2610:
2607:
2558:In the art of
2510:Conceptual Art
2431:
2428:
2422:, and others.
2420:Michael Gitlin
2368:Ararat Express
2332:Michael Gitlin
2267:
2264:
2253:Michal Na'aman
2233:Want of Matter
2158:Michal Na'aman
2144:Untitled, 1969
2133:
2130:
2098:Igael Tumarkin
2093:
2090:
2064:Yigal Tumarkin
2056:
2053:
2033:Avigdor Arikha
2002:Igael Tumarkin
1974:
1971:
1924:Moshe Bromberg
1902:
1899:
1812:Zvi Meirowitch
1761:
1758:
1752:
1749:
1747:and others...
1736:
1733:
1680:
1677:
1659:was opened by
1657:Academy of Art
1628:
1625:
1616:Ecole de Paris
1612:Frenkel Frenel
1600:Frenkel Frenel
1554:
1551:
1487:Main article:
1484:
1481:
1467:" (1939) and "
1421:The Canaanites
1417:Yonatan Ratosh
1377:Main article:
1374:
1371:
1264:French realism
1220:
1217:
1204:Ecole de Pairs
1079:
1076:
987:
984:
980:Hermann Struck
937:Mograbi Cinema
933:Allenby Street
878:Tower of David
826:
823:
821:in Jerusalem.
758:Yalkut Bezalel
713:
710:
708:
705:
654:Book of Esther
629:Arab Christian
597:
594:
573:Ćcole de Paris
554:decorative art
549:
546:
491:
490:
488:
487:
480:
473:
465:
462:
461:
460:
459:
444:
443:
440:
439:
434:
429:
423:
419:
418:
417:
414:
413:
410:
409:
403:
399:
398:
397:
394:
393:
387:
386:
383:
382:
377:
372:
367:
362:
356:
350:
349:
348:
345:
344:
338:
328:
327:
326:
323:
322:
316:
310:
309:
308:
305:
304:
301:
300:
295:
290:
284:
278:
277:
276:
273:
272:
269:
268:
267:
266:
261:
256:
246:
241:
240:
239:
234:
229:
219:
213:
207:
206:
205:
202:
201:
195:
194:
188:
187:
181:
180:
174:
170:
169:
168:
165:
164:
158:
157:
151:
150:
145:
144:
143:
142:
132:
127:
126:
125:
120:
110:
109:
108:
98:
97:
96:
86:
85:
84:
74:
69:
64:
58:
57:
56:
50:
49:
48:
45:
44:
36:
35:
27:
26:
9:
6:
4:
3:
2:
6180:
6169:
6166:
6164:
6161:
6159:
6156:
6155:
6153:
6138:
6135:
6133:
6130:
6128:
6125:
6123:
6120:
6118:
6115:
6114:
6112:
6104:
6098:
6095:
6093:
6092:South Ossetia
6090:
6088:
6085:
6083:
6080:
6078:
6075:
6074:
6072:
6064:
6058:
6055:
6053:
6050:
6048:
6045:
6043:
6040:
6038:
6035:
6033:
6030:
6028:
6025:
6023:
6020:
6018:
6015:
6013:
6010:
6008:
6005:
6003:
6000:
5998:
5995:
5993:
5990:
5988:
5985:
5983:
5980:
5978:
5975:
5973:
5970:
5968:
5965:
5963:
5960:
5958:
5955:
5953:
5950:
5948:
5945:
5943:
5940:
5938:
5935:
5933:
5930:
5928:
5925:
5923:
5920:
5918:
5915:
5913:
5910:
5908:
5905:
5903:
5900:
5898:
5895:
5893:
5890:
5888:
5885:
5883:
5880:
5878:
5875:
5873:
5870:
5868:
5865:
5863:
5860:
5858:
5855:
5853:
5850:
5848:
5845:
5843:
5840:
5838:
5835:
5833:
5830:
5828:
5825:
5823:
5820:
5818:
5815:
5814:
5812:
5808:
5804:
5797:
5792:
5790:
5785:
5783:
5778:
5777:
5774:
5762:
5758:
5754:
5752:
5744:
5743:
5740:
5734:
5731:
5729:
5726:
5724:
5721:
5719:
5716:
5714:
5711:
5710:
5708:
5703:
5699:
5693:
5690:
5688:
5687:South Ossetia
5685:
5683:
5680:
5678:
5675:
5673:
5670:
5669:
5667:
5665:
5659:
5653:
5650:
5648:
5645:
5643:
5640:
5638:
5635:
5633:
5630:
5628:
5625:
5623:
5620:
5618:
5615:
5613:
5610:
5608:
5605:
5603:
5600:
5598:
5595:
5593:
5590:
5588:
5585:
5583:
5580:
5578:
5575:
5573:
5570:
5568:
5565:
5563:
5560:
5558:
5555:
5553:
5550:
5548:
5545:
5543:
5540:
5538:
5535:
5533:
5530:
5528:
5525:
5523:
5520:
5518:
5515:
5513:
5510:
5508:
5505:
5503:
5500:
5498:
5495:
5493:
5490:
5488:
5485:
5483:
5480:
5478:
5475:
5473:
5470:
5468:
5465:
5463:
5460:
5458:
5455:
5453:
5450:
5448:
5445:
5443:
5440:
5438:
5435:
5433:
5430:
5428:
5425:
5423:
5420:
5418:
5415:
5413:
5410:
5409:
5407:
5405:
5401:
5397:
5390:
5385:
5383:
5378:
5376:
5371:
5370:
5367:
5356:
5353:
5351:
5348:
5346:
5343:
5341:
5340:United States
5338:
5336:
5333:
5331:
5328:
5326:
5323:
5321:
5318:
5316:
5313:
5311:
5308:
5306:
5303:
5301:
5298:
5296:
5293:
5291:
5288:
5286:
5283:
5281:
5278:
5276:
5273:
5271:
5268:
5266:
5263:
5261:
5258:
5256:
5253:
5251:
5248:
5246:
5243:
5241:
5238:
5236:
5233:
5231:
5228:
5226:
5223:
5221:
5218:
5216:
5213:
5211:
5208:
5206:
5203:
5201:
5198:
5196:
5193:
5191:
5188:
5186:
5183:
5181:
5178:
5176:
5173:
5171:
5168:
5166:
5163:
5161:
5158:
5156:
5153:
5151:
5148:
5146:
5143:
5141:
5138:
5136:
5133:
5131:
5128:
5126:
5123:
5121:
5118:
5116:
5113:
5111:
5108:
5106:
5103:
5100:
5096:
5089:
5084:
5082:
5077:
5075:
5070:
5069:
5066:
5054:
5051:
5050:
5047:
5041:
5038:
5036:
5033:
5031:
5028:
5026:
5023:
5021:
5018:
5016:
5013:
5011:
5008:
5006:
5003:
5001:
4998:
4996:
4993:
4991:
4988:
4986:
4983:
4981:
4978:
4976:
4973:
4969:
4968:pallet crafts
4966:
4965:
4964:
4961:
4959:
4956:
4954:
4951:
4949:
4946:
4944:
4941:
4939:
4936:
4935:
4932:
4928:
4921:
4916:
4914:
4909:
4907:
4902:
4901:
4898:
4886:
4883:
4881:
4878:
4876:
4873:
4872:
4870:
4866:
4860:
4857:
4856:
4854:
4850:
4844:
4843:Israel Museum
4841:
4840:
4838:
4834:
4828:
4825:
4823:
4820:
4819:
4817:
4813:
4807:
4804:
4802:
4799:
4798:
4796:
4792:
4786:
4783:
4781:
4778:
4776:
4773:
4771:
4768:
4767:
4765:
4761:
4757:
4748:
4743:
4741:
4736:
4734:
4729:
4728:
4725:
4718:
4714:
4711:
4708:Dalia Manor,
4707:
4706:
4686:
4682:
4676:
4661:
4657:
4651:
4643:
4637:
4628:
4619:
4609:
4602:
4596:
4589:
4583:
4573:
4566:
4562:
4556:
4549:
4545:
4539:
4532:
4526:
4519:
4513:
4506:
4500:
4493:
4487:
4478:
4469:
4460:
4451:
4442:
4433:
4424:
4415:
4406:
4397:
4388:
4379:
4369:
4362:
4356:
4347:
4338:
4329:
4322:
4316:
4306:
4297:
4287:
4278:
4269:
4260:
4253:
4247:
4240:
4234:
4227:
4221:
4214:
4208:
4199:
4192:
4187:
4180:
4174:
4167:
4161:
4146:
4142:
4136:
4121:
4117:
4116:"Beit Castel"
4111:
4096:
4092:
4086:
4070:
4066:
4060:
4044:
4040:
4034:
4026:
4020:
4016:
4009:
4001:
3995:
3987:
3981:
3977:
3970:
3962:
3955:
3953:
3944:
3937:
3929:
3922:
3907:
3903:
3897:
3895:
3885:
3876:
3869:
3863:
3856:
3850:
3841:
3834:
3828:
3821:
3815:
3808:
3802:
3795:
3789:
3781:
3768:
3760:
3753:
3745:
3738:
3730:
3724:
3716:
3714:9789655350272
3710:
3706:
3699:
3691:
3685:
3677:
3671:
3667:
3660:
3652:
3645:
3629:
3625:
3619:
3611:
3598:
3583:
3580:
3574:
3558:
3554:
3548:
3533:
3529:
3525:
3521:
3514:
3505:
3498:
3492:
3485:
3480:
3474:
3473:
3468:
3463:
3456:
3450:
3441:
3434:
3428:
3422:(1978, Ariel)
3421:
3415:
3408:
3402:
3395:
3394:
3387:
3378:
3371:
3365:
3351:, 23 May 2018
3350:
3346:
3340:
3324:
3320:
3314:
3312:
3295:
3291:
3285:
3277:
3271:
3263:
3261:9789655350272
3257:
3253:
3246:
3244:
3242:
3240:
3238:
3236:
3234:
3232:
3230:
3228:
3211:
3207:
3201:
3199:
3197:
3181:
3177:
3171:
3163:
3157:
3155:
3150:
3140:
3137:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3096:
3090:
3088:
3084:
3080:
3075:
3060:
3057:
3052:
3048:
3046:
3042:
3041:Tal Matzliach
3038:
3037:Meira Shemesh
3034:
3029:
3026:
3021:
3020:Penny Yassour
3017:
3012:
3010:
3005:
3000:
2998:
2992:
2990:
2984:
2982:
2978:
2974:
2963:
2959:
2952:
2951:Israel Museum
2946:
2942:
2933:
2931:
2925:
2923:
2919:
2915:
2910:
2908:
2904:
2900:
2896:
2892:
2888:
2882:
2880:
2875:
2871:
2867:
2865:
2861:
2857:
2853:
2849:
2845:
2839:
2837:
2833:
2828:
2823:
2821:
2816:
2812:
2808:
2804:
2799:
2795:
2793:
2789:
2785:
2781:
2777:
2763:
2759:
2751:
2747:
2739:JemmƔin, 1986
2737:
2733:
2724:
2717:
2713:
2711:
2710:Second Aliyah
2707:
2706:Zalman Shneur
2701:
2698:
2694:
2692:
2688:
2683:
2681:
2677:
2673:
2668:
2662:Political art
2659:
2656:
2652:
2648:
2643:
2641:
2637:
2632:
2628:
2619:
2615:
2606:
2604:
2600:
2596:
2591:
2588:
2584:
2578:
2576:
2572:
2571:Golan Heights
2568:
2563:
2561:
2556:
2554:
2549:
2547:
2543:
2539:
2535:
2531:
2530:Kidron Valley
2527:
2523:
2519:
2515:
2511:
2502:
2495:
2494:Israel Museum
2491:Passage, 1982
2489:
2485:
2475:
2471:
2465:
2459:
2455:
2448:
2444:
2440:
2436:
2427:
2423:
2421:
2417:
2416:Buky Schwartz
2413:
2407:
2405:
2401:
2397:
2388:
2387:Buky Schwartz
2384:
2380:
2376:
2372:
2369:
2364:
2357:
2352:
2348:
2344:
2340:
2337:
2333:
2329:
2325:
2321:
2317:
2313:
2312:Zvi Goldstein
2309:
2305:
2304:Buky Schwartz
2301:
2297:
2293:
2285:
2280:
2276:
2272:
2263:
2261:
2260:Yehudit Levin
2256:
2254:
2250:
2248:
2244:
2240:
2236:
2234:
2229:
2227:
2223:
2219:
2214:
2212:
2207:
2204:
2200:
2199:Uri Lifschitz
2196:
2192:
2191:Pinchas Eshet
2188:
2187:Ziona Shimshi
2184:
2183:Buky Schwartz
2180:
2176:
2172:
2165:
2159:
2155:
2148:
2147:Israel Museum
2142:
2138:
2129:
2125:
2123:
2119:
2115:
2111:
2107:
2103:
2099:
2089:
2086:
2082:
2076:
2069:
2065:
2061:
2052:
2049:
2045:
2041:
2037:
2034:
2029:
2025:
2022:
2018:
2009:
2005:
2003:
1999:
1995:
1990:
1988:
1984:
1983:Yechiel Shemi
1980:
1970:
1968:
1964:
1960:
1956:
1951:
1947:
1945:
1941:
1935:
1933:
1927:
1925:
1921:
1917:
1913:
1909:
1898:
1896:
1890:
1888:
1884:
1883:Yechiel Shemi
1879:
1875:
1871:
1867:
1863:
1861:
1857:
1853:
1852:Yohanan Simon
1849:
1848:Aharon Kahana
1845:
1839:
1837:
1833:
1829:
1825:
1821:
1817:
1816:Avraham Naton
1813:
1809:
1801:
1797:
1793:
1789:
1781:
1774:
1773:Israel Museum
1770:
1766:
1757:
1748:
1746:
1742:
1732:
1730:
1726:
1722:
1717:
1713:
1709:
1705:
1701:
1700:Sionna Tagger
1697:
1693:
1689:
1685:
1679:Art movements
1676:
1674:
1670:
1666:
1662:
1661:Isaac Frenkel
1658:
1654:
1650:
1646:
1642:
1638:
1637:Isaac Frenkel
1634:
1624:
1622:
1617:
1613:
1609:
1605:
1604:Rolly Sheffer
1601:
1597:
1595:
1594:impressionist
1591:
1587:
1583:
1579:
1575:
1571:
1567:
1563:
1559:
1550:
1548:
1544:
1540:
1539:Isaac Frenkel
1536:
1532:
1528:
1524:
1520:
1516:
1512:
1508:
1504:
1500:
1496:
1490:
1480:
1478:
1472:
1470:
1466:
1462:
1458:
1457:Yechiel Shemi
1454:
1450:
1445:
1442:
1438:
1433:
1429:
1426:
1422:
1418:
1409:Messiah, 1966
1407:
1403:
1396:
1395:Israel Museum
1389:
1385:
1380:
1370:
1368:
1367:Chalil Rissas
1364:
1359:
1357:
1353:
1349:
1345:
1340:
1339:Helmar Lerski
1336:
1334:
1330:
1329:Zoltan Kluger
1326:
1320:
1317:
1313:
1309:
1305:
1300:
1295:
1293:
1289:
1285:
1281:
1277:
1273:
1269:
1268:Auguste Rodin
1265:
1261:
1256:
1254:
1249:
1240:
1239:Helmar Lerski
1236:
1229:
1225:
1216:
1214:
1210:
1205:
1200:
1198:
1197:Expressionism
1194:
1190:
1185:
1181:
1177:
1173:
1169:
1165:
1164:Chaim Soutine
1160:
1156:
1151:
1149:
1145:
1141:
1137:
1133:
1129:
1125:
1121:
1120:David Hendler
1117:
1113:
1109:
1105:
1101:
1097:
1093:
1089:
1085:
1084:Isaac Frenkel
1075:
1073:
1069:
1065:
1061:
1060:Neshan Balian
1057:
1052:
1050:
1046:
1042:
1038:
1034:
1029:
1027:
1023:
1019:
1015:
1011:
1007:
1003:
996:
992:
983:
981:
976:
974:
968:
966:
962:
956:
954:
948:
945:
940:
938:
934:
930:
926:
925:Nachum Gutman
922:
921:Arieh Allweil
918:
914:
910:
906:
905:Sionah Tagger
902:
898:
893:
891:
887:
883:
879:
873:
870:
866:
861:
859:
855:
847:
841:
837:
832:
822:
820:
819:Israel Museum
814:
812:
808:
807:Adolf Behrman
804:
800:
796:
792:
788:
784:
778:
774:
770:
767:
763:
759:
755:
751:
746:
744:
740:
736:
732:
728:
718:
704:
702:
698:
697:Felix Bonfils
694:
690:
686:
681:
679:
675:
674:Neo-Classical
671:
667:
663:
659:
655:
650:
646:
645:gold smithing
642:
638:
634:
630:
617:
610:
606:
605:FĆ©lix Bonfils
602:
593:
591:
586:
583:
581:
578:
574:
570:
565:
563:
558:
555:
545:
543:
539:
535:
531:
524:
523:Israel Museum
520:
516:
512:
505:
501:
497:
486:
481:
479:
474:
472:
467:
466:
464:
463:
458:
448:
447:
446:
445:
438:
435:
433:
430:
428:
425:
424:
416:
415:
408:
405:
404:
396:
395:
392:
389:
388:
381:
378:
376:
373:
371:
368:
366:
363:
361:
358:
357:
353:
347:
346:
341:
335:
331:
325:
324:
319:
313:
307:
306:
299:
296:
294:
291:
289:
286:
285:
281:
275:
274:
265:
262:
260:
257:
255:
252:
251:
250:
247:
245:
242:
238:
235:
233:
230:
228:
225:
224:
223:
220:
218:
215:
214:
210:
204:
203:
200:
197:
196:
193:
190:
189:
186:
183:
182:
177:
167:
166:
163:
160:
159:
156:
153:
152:
141:
138:
137:
136:
133:
131:
128:
124:
123:Peace process
121:
119:
116:
115:
114:
111:
107:
104:
103:
102:
99:
95:
92:
91:
90:
87:
83:
80:
79:
78:
77:Ottoman Syria
75:
73:
70:
68:
65:
63:
60:
59:
53:
47:
46:
42:
38:
37:
33:
29:
28:
24:
20:
19:
16:
6037:Turkmenistan
6002:Saudi Arabia
5702:Dependencies
5632:Turkmenistan
5597:Saudi Arabia
5396:Art of Asia
5140:Burkina Faso
4958:Computer art
4938:Architecture
4859:Ralli Museum
4806:Haifa Museum
4801:Hecht Museum
4716:
4709:
4688:. Retrieved
4684:
4675:
4663:. Retrieved
4659:
4650:
4636:
4627:
4618:
4608:
4600:
4595:
4587:
4582:
4572:
4564:
4560:
4555:
4547:
4543:
4538:
4530:
4525:
4517:
4512:
4504:
4499:
4491:
4486:
4477:
4468:
4459:
4450:
4441:
4432:
4423:
4414:
4405:
4396:
4387:
4378:
4368:
4360:
4355:
4346:
4337:
4328:
4320:
4315:
4305:
4296:
4286:
4277:
4268:
4259:
4251:
4246:
4238:
4233:
4225:
4220:
4215:, pp. 64ā66.
4213:New Horizons
4212:
4207:
4198:
4190:
4186:
4179:New Horizons
4178:
4177:Gila Blass,
4173:
4165:
4160:
4149:, retrieved
4144:
4135:
4124:, retrieved
4119:
4110:
4099:, retrieved
4094:
4085:
4073:. Retrieved
4068:
4059:
4047:. Retrieved
4042:
4033:
4014:
4008:
3975:
3969:
3960:
3942:
3936:
3927:
3921:
3909:. Retrieved
3905:
3884:
3875:
3867:
3862:
3854:
3849:
3840:
3832:
3827:
3819:
3818:Haim Gimzu,
3814:
3806:
3801:
3793:
3788:
3767:cite journal
3752:
3743:
3737:
3704:
3698:
3668:. Tel Aviv.
3665:
3659:
3650:
3644:
3632:. Retrieved
3627:
3618:
3606:|title=
3585:. Retrieved
3578:
3573:
3561:. Retrieved
3556:
3547:
3535:. Retrieved
3524:The Guardian
3523:
3513:
3504:
3496:
3491:
3483:
3479:
3470:
3462:
3454:
3449:
3440:
3432:
3427:
3419:
3418:P.A. Parry,
3414:
3406:
3401:
3392:
3386:
3377:
3369:
3364:
3353:, retrieved
3348:
3339:
3327:. Retrieved
3322:
3298:. Retrieved
3293:
3284:
3251:
3214:. Retrieved
3209:
3183:. Retrieved
3179:
3170:
3119:Moshe Castel
3071:
3053:
3049:
3030:
3013:
3001:
2993:
2985:
2970:
2926:
2922:Tami Ben-Ami
2911:
2883:
2868:
2840:
2824:
2800:
2796:
2784:Bad Painting
2772:
2722:
2702:
2695:
2691:Sharon Keren
2687:Gabi Klasmer
2685:The artists
2684:
2669:
2665:
2651:Via Dolorosa
2644:
2640:Tamar Getter
2624:
2595:Avraham Ofek
2592:
2583:Micha Ullman
2579:
2564:
2557:
2550:
2507:
2488:Micha Ullman
2458:Dani Karavan
2424:
2408:
2396:Gideon Ofrat
2393:
2377:
2373:
2367:
2365:
2361:
2355:
2345:
2341:
2320:Adina Bar-On
2300:Micha Ullman
2289:
2278:
2257:
2251:
2245:
2241:
2237:
2230:
2218:New Horizons
2215:
2208:
2168:
2126:
2118:Moshe Shamir
2102:Yona Fischer
2095:
2077:
2073:
2067:
2038:
2026:
2014:
1991:
1976:
1967:Yosl Bergner
1963:Baruch Elron
1952:
1948:
1936:
1928:
1920:Ruth Schloss
1904:
1891:
1880:
1876:
1872:
1868:
1864:
1860:Moshe Castel
1844:Marcel Janco
1840:
1818:(Natanson),
1804:
1760:New Horizons
1754:
1738:
1682:
1669:Yosl Bergner
1665:Siona Tagger
1649:Moshe Castel
1630:
1621:Marc Chagall
1598:
1556:
1549:and others.
1543:Moshe Castel
1503:Moshe Castel
1492:
1477:New Horizons
1473:
1446:
1434:
1430:
1414:
1391:Nimrod, 1939
1360:
1337:
1321:
1316:Shalom Sebba
1312:Chana Orloff
1299:Zeev Ben Zvi
1296:
1284:Moshe Ziffer
1257:
1244:
1228:Zeev Ben Zvi
1213:cafƩ culture
1201:
1193:Montparnasse
1152:
1150:and others.
1148:Genia Berger
1104:Moshe Castel
1081:
1072:Marie Balian
1054:The artists
1053:
1030:
1000:In 1919 the
999:
977:
969:
961:Israel Paldi
957:
949:
941:
917:Reuven Rubin
909:Chana Orloff
894:
890:Ohel theater
874:
862:
850:
815:
779:
775:
771:
757:
747:
735:Boris Schatz
723:
682:
662:Western Wall
658:Temple Mount
641:graphic arts
626:
608:
592:movements.
590:New Horizons
587:
584:
566:
559:
551:
533:
529:
528:
514:
504:Moshe Castel
499:
432:Coat of arms
292:
288:Architecture
279:
249:Christianity
106:Independence
15:
6158:Israeli art
6069:recognition
5987:Philippines
5932:South Korea
5927:North Korea
5817:Afghanistan
5761:Asia portal
5662:States with
5582:Philippines
5522:South Korea
5517:North Korea
5412:Afghanistan
5325:Switzerland
5260:New Zealand
5255:Netherlands
5015:Printmaking
5010:Photography
4990:Digital art
4927:Visual arts
4770:Beit Castel
4071:(in Hebrew)
4045:(in Hebrew)
3630:(in French)
3296:(in French)
3033:Nurit David
3009:Ohad Meromi
2997:Guy Ben-Ner
2953:, Jerusalem
2891:Oded Yedaya
2856:Six-Day War
2836:Nahum Tevet
2736:Nahum Tevet
2697:Efrat Natan
2587:Avital Geva
2522:Gerard Marx
2496:, Jerusalem
2443:Gerard Marx
2412:Benni Efrat
2404:Itamar Levy
2339:Greenberg)
2324:Nahum Tevet
2308:Benni Efrat
2292:Avital Geva
2275:Benni Efrat
2247:Yair Garbuz
2231:Visually, "
2195:Tuvia Beeri
2175:Raffi Lavie
2149:, Jerusalem
2141:Raffi Lavie
2106:Sam Dubiner
2092:Protest art
1994:Raffi Lavie
1912:Simon Zabar
1775:, Jerusalem
1741:Beit Castel
1590:Fontainbleu
1582:Mount Meron
1453:Kosso Eloul
1441:Amos Keinan
1356:Gerda Meyer
1248:Avant garde
1124:Ori Reisman
1116:Jerusalem's
1049:Ottoman art
1018:ceramic art
973:Art Nouveau
811:Shmuel Levi
783:Renaissance
762:Ze'ev Raban
750:Art Nouveau
743:applied art
701:Khalil Raad
689:orientalist
538:plastic art
534:Israeli art
519:Ori Reisman
72:Middle Ages
6152:Categories
6047:Uzbekistan
6022:Tajikistan
5942:Kyrgyzstan
5922:Kazakhstan
5837:Bangladesh
5827:Azerbaijan
5642:Uzbekistan
5617:Tajikistan
5532:Kyrgyzstan
5512:Kazakhstan
5432:Bangladesh
5422:Azerbaijan
5245:Luxembourg
5120:Azerbaijan
5040:Street art
5020:Public art
4995:Filmmaking
4310:HaGeta'ot.
4075:29 October
4065:"ש××Ŗ ×צפ×Ŗ"
4049:29 October
4024:1876832924
3634:28 October
3587:28 October
3563:28 October
3537:28 October
3329:28 October
3300:28 October
3216:28 October
3145:References
3045:Tsibi Geva
2864:Tsibi Geva
2852:David Reeb
2827:Diti Almog
2815:homoerotic
2780:Jeff Koons
2753:Cart, 1984
2546:Chapter 14
2540:) and the
2538:Chapter 47
2226:Arie Aroch
2044:Chaim Atar
2017:Arie Aroch
1959:Samuel Bak
1932:Gan Shmuel
1828:Dov Feigin
1808:Arie Aroch
1792:Dov Feigin
1716:Streichman
1596:painters.
1406:Amos Kenan
1363:Ali Zaarur
1292:Dov Feigin
1132:Arie Aroch
829:See also:
795:Jugendstil
731:modern art
621:embroidery
542:Jewish art
500:Hallelujah
375:Newspapers
365:Television
312:Literature
264:Protestant
171:Traditions
82:Old Yishuv
6132:Hong Kong
6087:Palestine
6012:Sri Lanka
6007:Singapore
5892:Indonesia
5803:Asian art
5728:Hong Kong
5682:Palestine
5607:Sri Lanka
5602:Singapore
5482:Indonesia
5350:Venezuela
5315:Sri Lanka
5300:Singapore
5215:Indonesia
5115:Australia
5030:Sculpture
5000:Light art
4836:Jerusalem
4151:12 August
4145:Knowledge
4126:12 August
4120:Knowledge
4095:Knowledge
3994:cite book
3930:. Israel.
3723:cite book
3684:cite book
3532:0261-3077
3349:Knowledge
3294:Mr Expert
3270:cite book
3124:Jerusalem
3087:Maya Zack
2981:Art Focus
2930:Zik Group
2907:Ein Harod
2887:Avi Ganor
2820:Holocaust
2727:The 1980s
2575:Egoz Unit
2464:Beersheba
2222:Aviva Uri
2203:video art
2122:Earth Art
2028:Aviva Uri
1987:Aviva Uri
1916:Moshe Gat
1800:Ein Harod
1743:gallery,
1729:Jerusalem
1712:Stematsky
1574:Ashkenazi
1570:Sephardic
1479:" group.
1379:Canaanism
1352:Charlotte
1180:Frenkel's
965:Abel Pann
787:Donatello
685:Holy Land
400:Monuments
380:Magazines
237:Ahmadiyya
199:Festivals
185:Mythology
162:Languages
62:Antiquity
6077:Abkhazia
6027:Thailand
5982:Pakistan
5967:Mongolia
5962:Maldives
5957:Malaysia
5857:Cambodia
5751:Category
5672:Abkhazia
5622:Thailand
5577:Pakistan
5557:Mongolia
5552:Maldives
5547:Malaysia
5447:Cambodia
5330:Thailand
5305:Slovenia
5175:Ethiopia
5150:Colombia
5135:Bulgaria
5025:Rock art
5005:Painting
4953:Ceramics
4815:Tel Aviv
4681:"JB2015"
4613:Hebrew).
4577:Hebrew).
4291:Hebrew).
4101:9 August
3911:9 August
3597:cite web
3355:8 August
3185:8 August
3109:Tel Aviv
3093:See also
2945:Adi Ness
2860:Tel Aviv
2553:Land Art
2366:Efrat's
1955:Zeev Kun
1725:Tel Aviv
1721:Tel Aviv
1608:Mt Meron
1586:Barbizon
1578:Hassidic
1531:Tel Aviv
1515:Tel Aviv
1469:Shabazia
1209:Tel Aviv
1112:Tel Aviv
1102:such as
1092:Tel Aviv
1006:Armenian
953:Fellahin
660:and the
633:pilgrims
567:In 1925
259:Catholic
209:Religion
176:Marriage
135:Timeline
23:a series
21:Part of
6052:Vietnam
5952:Lebanon
5882:Georgia
5832:Bahrain
5822:Armenia
5647:Vietnam
5562:Myanmar
5542:Lebanon
5472:Georgia
5427:Bahrain
5417:Armenia
5355:Vietnam
5345:Uruguay
5285:Romania
5205:Iceland
5200:Hungary
5185:Germany
5170:Estonia
5160:Ecuador
5155:Denmark
5125:Belgium
5110:Armenia
5105:Algeria
4985:Drawing
4948:Cartoon
4690:11 June
4665:11 June
4518:Haaretz
4091:"Safed"
3484:Haaretz
3472:Haaretz
3056:Adi Nes
2874:Zionism
2811:Impasto
2776:Neo-Geo
2676:Jericho
2526:Abu Tor
2179:pop art
2036:1970s.
2021:Pop Art
1944:Ein Hod
1692:Kikoine
1688:Soutine
1627:History
1566:Klezmer
1260:Bauhaus
1176:Chagall
1168:Kikoine
1100:Bezalel
1026:Kutahya
865:Tel Hai
846:Tel Hai
766:cherubs
739:Zionist
727:Bezalel
712:Bezalel
678:Baroque
611:, 1880s
562:pogroms
548:Outline
420:Symbols
217:Judaism
192:Cuisine
140:by year
89:Zionism
52:History
6097:Taiwan
6032:Turkey
5997:Russia
5937:Kuwait
5917:Jordan
5907:Israel
5867:Cyprus
5847:Brunei
5842:Bhutan
5692:Taiwan
5627:Turkey
5592:Russia
5527:Kuwait
5507:Jordan
5497:Israel
5457:Cyprus
5442:Brunei
5437:Bhutan
5320:Sweden
5295:Serbia
5290:Russia
5270:Norway
5250:Mexico
5240:Jordan
5225:Israel
5190:Greece
5180:France
5130:Brazil
4980:Design
4021:
3982:
3711:
3672:
3530:
3393:Zmanim
3258:
3085:, and
2627:gender
2601:, and
2328:Or Ner
2281:, 1969
2279:Energy
2070:, 1967
1918:, and
1708:Castel
1696:Pascin
1641:Ruslan
1568:, the
1523:France
1465:Nimrod
1425:Hebrew
1308:Cubism
1184:France
1172:Pascin
1159:Yishuv
1096:France
929:Cubism
923:, and
693:Orient
637:motifs
370:Cinema
318:Poetry
155:People
94:Yishuv
25:on the
6137:Macau
6057:Yemen
6017:Syria
5992:Qatar
5972:Nepal
5912:Japan
5887:India
5877:Egypt
5862:China
5733:Macau
5652:Yemen
5612:Syria
5587:Qatar
5567:Nepal
5502:Japan
5477:India
5467:Egypt
5452:China
5310:Spain
5280:Qatar
5235:Japan
5230:Italy
5210:India
5195:Haiti
5165:Egypt
5145:China
4963:Craft
4868:Negev
4794:Haifa
4763:North
4505:Place
3104:Safed
2678:near
1735:Today
1633:Safed
1562:Safed
1558:Safed
1527:Tzfat
1511:Tzfat
1495:Safed
1189:Paris
1082:With
1022:Iznik
639:from
580:Tzfat
391:Sport
360:Radio
352:Media
340:Dance
330:Music
244:Druze
227:Sunni
222:Islam
5977:Oman
5947:Laos
5902:Iraq
5897:Iran
5572:Oman
5537:Laos
5492:Iraq
5487:Iran
5220:Iran
4692:2019
4667:2019
4153:2019
4128:2019
4103:2019
4077:2023
4051:2023
4019:ISBN
4000:link
3980:ISBN
3913:2019
3780:help
3729:link
3709:ISBN
3690:link
3670:ISBN
3636:2023
3610:help
3589:2023
3565:2023
3539:2023
3528:ISSN
3357:2019
3331:2023
3302:2023
3276:link
3256:ISBN
3218:2023
3187:2019
3035:and
2834:and
2790:and
2689:and
2520:and
2224:and
2104:and
2083:and
2000:and
1985:and
1858:and
1822:and
1694:and
1647:and
1635:was
1525:and
1393:The
1354:and
1314:and
1153:The
1106:and
1070:and
1058:and
1024:and
676:and
427:Flag
332:and
232:Shia
5704:and
4943:Art
2567:oak
2548:).
2171:10+
1727:or
1572:or
1090:in
532:or
280:Art
6154::
4683:.
4658:.
4143:,
4118:,
4093:,
4067:.
4041:.
3996:}}
3992:{{
3951:^
3904:.
3893:^
3771::
3769:}}
3765:{{
3725:}}
3721:{{
3686:}}
3682:{{
3626:.
3601::
3599:}}
3595:{{
3555:.
3526:.
3522:.
3469:,
3347:,
3321:.
3310:^
3292:.
3272:}}
3268:{{
3226:^
3208:.
3195:^
3178:.
3153:^
3081:,
2901:,
2897:,
2893:,
2889:,
2638:,
2597:,
2445:,
2441:,
2418:,
2414:,
2334:,
2330:,
2326:,
2322:,
2318:,
2314:,
2310:,
2306:,
2302:,
2298:,
2294:,
2197:,
2193:,
2189:,
2185:,
1996:,
1969:.
1961:,
1957:,
1914:,
1854:,
1850:,
1846:,
1814:,
1810:,
1798:,
1714:,
1710:,
1690:,
1667:,
1602:,
1545:,
1541:,
1505:,
1501:,
1459:,
1455:,
1451:,
1365:,
1331:,
1286:,
1282:,
1278:,
1270:,
1174:,
1170:,
1166:,
1146:,
1142:,
1138:,
1134:,
1130:,
1126:,
1122:,
919:,
915:,
907:,
903:,
899:,
884:,
809:,
805:,
801:,
517:,
502:,
5795:e
5788:t
5781:v
5388:e
5381:t
5374:v
5087:e
5080:t
5073:v
4919:e
4912:t
4905:v
4746:e
4739:t
4732:v
4694:.
4669:.
4644:.
4079:.
4053:.
4027:.
4002:)
3988:.
3915:.
3782:)
3778:(
3761:.
3731:)
3717:.
3692:)
3678:.
3638:.
3612:)
3608:(
3591:.
3567:.
3541:.
3333:.
3304:.
3278:)
3264:.
3220:.
3189:.
2928:"
2544:(
2536:(
1529:/
852:"
525:)
521:(
484:e
477:t
470:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
