Descripción
In Yiddish. (2), 222 pages. 228 x 160 mm. H. Leivick (1888-1962) was a famous Yiddish language writer best known for this work. His style was neo-Romantic with apocalyptic pessimism and a yearning for the mystical and messianic. The Golem depicts a Jewish Messiah and also Jesus, as representatives of a peaceful redemption, who is chased away by the Maharal of Prague and his violent Golem, who ultimately rampages through the streets of Prague injuring large numbers of people, both Jews and Christians. In The Golem, Leivick condemns attempts to heal the world through violence, but also highlights the fallibility and impotence of all would-be Messiahs. The poem was widely interpreted as a thinly veiled critique of the Bolshevik Revolution and resulted in his being criticized by the Soviet Union and Communist Yiddishists. Leivick stopped writing for the Communist papers in 1929 following their public support for the Arab riots in Eretz Israel and he broke off all connections with the left following the Molotov-Ribbentrop Pact of 1939. Max Weber (1881-1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art. Born in the Polish city of Bialystok, then part of the Russian Empire, Weber immigrated to the United States at age 10 together with his Orthodox Jewish parents, settling in Brooklyn. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. In 1909 Weber helped introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was discouraging. Critical response to his paintings in a 1911 show at the 291 Gallery, run by Alfred Stieglitz, was merciless. He was attacked for his ?brutal, vulgar, and unnecessary art license.? Weber was sustained by the respect of some eminent peers, such as photographers Alvin Langdon Coburn and Clarence White, and museum director John Cotton Dana, who saw to it that Weber was the subject of a one-man exhibition at the Newark Museum in 1913, the first modernist exhibition in an American museum. For a few years, Weber enjoyed a productive if rocky relationship with Stieglitz, and he published two essays in Stieglitz's journal Camera Work. He also wrote Cubist poems and published a book, Essays on Art, in 1916. So poor was Weber in these years that he camped out for some weeks in Stieglitz's gallery. Weber was also closely acquainted with Wilhelmina Weber Furlong and Thomas Furlong, whom he met at the Art Students League, where he taught from 1919 to 1921 and 1926 to 1927. He was the subject of a major retrospective at the Jewish Museum in 1982. In time, Weber's work found more adherents, including Alfred H. Barr, Jr., the first director of the Museum of Modern Art. In 1930, the Museum of Modern Art held a retrospective of his work, the first solo exhibition at that museum of an American artist. He was praised as ?a pioneer of modern art in America? in a 1945 Life magazine article. In 1948, Look magazine reported on a survey among art experts to determine the greatest living American artists; Weber was rated second, behind only John Marin. He was the subject of a major traveling retrospective in 1949 and became more popular in the 1940s and 1950s for his figurative work, often expressionist renderings of Jewish families, rabbis, and Talmudic scholars, than for the early modernist work he had abandoned circa 1920 and on which his current reputation is founded. N° de ref. del artículo 016671
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