1957 Jewish ART BOOK Synagogue RYBACK Lissitzky BEZALEL Hebrew JUDAICA Design for Sale

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1957 Jewish ART BOOK Synagogue RYBACK Lissitzky BEZALEL Hebrew JUDAICA Design For Sale

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1957 Jewish ART BOOK Synagogue RYBACK Lissitzky BEZALEL Hebrew JUDAICA Design:
$75.00

DESCRIPTION : Here for sale is aEXTENSIVELY illustrated andphotographedREFERENCE BOOKregarding theJEWISH ART.Written in Hebrew . With literaly HUNDREDS of photos and illustrationsregarding theJEWISH ART through generations in DIASPORA and inERETZ ISRAEL. It provides a throrough study of JEWISH ART from Biblical times ,Through Judaica ceremonial objects art ( Synagogue , Bar Mitzva , Shabbat , Marriage ,Customs and Holidays , Hanukkah, Sukkot , Passover etc , Objects such asHanukkia , Menorah, Amulets, Coins, Seals , Rings, Boxes etc.),SYNAGOGUE design , The great classics painters like : Liebermann , Gotlieb, Oppenheim ,Pissaro etc , Jewish Russian Avant Garde ( Lissitzky , Ryback \' Chagall etc ) , BEZALELand its ARTISTS : Lilien , Raban , Schatz, Struck etc, Modern Israeli art :Gutman , Rubin, etc up to Ofakin Chadashim artists such as : Janco etc andsculptors like Yitzhak Danziger. To name only a few among hundreds of OTHERS.Painters and paintings, Illustrators, Graphic designers, Architects and architecture, Sculptors and sculptures . The book\"HA\'OMANUT HAYEHUDIT\" (TheJEWISH ART) was published almost 55 years ago byMASSADAH in Tel Aviv ERETZISRAEL in 1956 . Written inHEBREW .NUMEROUS ILLUSTRATIONS andPHOTOS . Thebook SIZE isaround 7\" x 9.5\".904 throughout illustratedchromo pp.Originalblueishleather immitationHC .Very goodcondition. Tightly bound. (Please look at scan for actual AS IS images )Book will be sent in a special protective rigid sealedpackage.PAYMENTS : Payment method accepted : Paypal& All credit cards.SHIPPMENT : SHIPP worldwide via registered airmail is $ 29 .Book will be sent inside a protective packaging .Handling around 5-10 days after payment.The term Bezalel school describesa group of artists who worked in Israel in the late Ottoman and British Mandateperiods. It is named after the institution where they were employed, theBezalel Academy, predecessor of today’s Bezalel Academy of Art and Design, andhas been described as \"a fusion of ‘oriental\' art and Jugendstil.\"The Academy was led by Boris Schatz, who left his position as head of the RoyalAcademy of Arts in Sofia, Bulgaria, to make aliyah 1906 and set up an academy forJewish arts. All of the members of the school were Zionist immigrants fromEurope and the Middle East, with all the psychological and social upheaval thatthis implies. The school developed a distinctive style, in which artistsportrayed both Biblical and Zionist subjects in a style influenced by theEuropean jugendstil ( or art nouveau) movement, by symbolism, and bytraditional Persian and Syrian artistry. Like the British Arts and CraftsMovement, Wiener Werkstätte in Vienna, William Morris firm in England, andTiffany Studios in New York, the Bezalel School produced decorative art objectsin a wide range of media: silver, leather, wood, brass and fabric. While theartists and designers were European-trained, the craftsmen who executed theworks were often members of the Yemenite community, which has a long traditionof craftsanship in precious metals, and began to make aliyah about 1880.Yemenite immigrants with their colorful traditional costumes were also frequentsubjects of Bezalel School artists.Leading members of the school were BorisSchatz, E.M. Lilien,Ya\'akov Stark, Meir Gur Arie, Ze\'ev Raban, Jacob Eisenberg,Jacob Steinhardt, and Hermann Struck.The artists produced not only paintingsand etchings, but objects that might be sold as Judiaca or souvenirs. In 1915,the New York Times praised the “Exquisite examples of filigree work, copperinlay, carving in ivory and in wood,” in a touring exhibit. In the metalworkMoorish patterns predominated, and the damascene work, in particular, showedboth artistic feeling and skill in execution . Bezalel Academy of Art and Design isIsrael\'s national school of art. It is named after the Biblical figure Bezalel,son of Uri (Hebrew: ), who was appointed by Moses to oversee the design andconstruction of the Tabernacle (Exodus 35:30).It is located on Mount Scopus inJerusalem and has 1,500 students registered in programs such as: Fine Arts,Architecture, Ceramic Design, Industrial Design, Jewelry, Photography, VisualCommunication, Animation, Film, and Art History & Theory. Bezalel offersBachelor of Fine Arts (B.F.A.), Bachelor of Architecture (B.Arch.), Bachelor ofDesign (B.Des.) degrees, a Master of Fine Arts in conjunction with HebrewUniversity, and two different Master of design (M.des) degree. The academy wasfounded in 1903 by Boris Schatz, and opened in 1906, but was cut off from itssupporters in Europe by World War I, and closed due to financial difficultiesin 1929. The academy was named \"Bezalel\" (Hebrew: \"in God\'sshadow\") as an illustration of God\'s creativity being channeled to a manof flesh and blood, providing the source of inspiration to Bezalel ben Uri inthe construction of the holy ark.Many early Zionists, including Theodor Herzl,felt that Israel needed to have a national style of art combining Jewish,Middle Eastern, and European traditions. The teachers at the academy developeda distinctive school (or style) of art, known as the Bezalel school, in whichartists portrayed both Biblical and Zionist subjects in a style influenced bythe European jugendstil (art nouveau) and by traditional Persian and Syrianstyles.Like the Wiener Werkstätte in Vienna, William Morris firm in England,and Tiffany Studios in New York, the Bezalel School produced decorative artobjects in a wide range of media: silver, leather, wood, brass and fabric.While the artists and designers were European-trained, the craftsmen whoexecuted the works were often members of the Yemenite community, which has along tradition of craftsanship in precious metals, and whose members had beenmaking aliyah in small groups at least form the beginning of the nineteenthcentury, forming a distinctive Yeminite community in Jerusalem. Silver andgoldsmithing, occupations forofferden to pious Muslims, had been traditionalJewish occupations in Yemen. Yemenite immigrants with their colorfultraditional costumes were also frequent subjects of Bezalel schoolartists.Leading artists of the school include Meir Gur Aryeh, Ze\'ev Raban,Boris Schatz, Jacob Eisenberg, Jacob Steinhardt, and Hermann Struck. The Schoolfolded because of economic difficulties. It was reopened as the New BezalelSchool for Arts and Crafts in 1935, attracting many of its teachers andstudents from Germany many of them from the Bauhaus school which had been shutdown by the Nazis. In 1969 it was converted into a state-supported institutionand took its current name. It completed its relocation to the current campus in1990 Israeli sculpture is the name designated tosculpture produced in the Land of Israel from 1906, the year the \"BezalelSchool of Arts and Crafts\" (today called the Bezalel Academy of Art andDesign) was established. The process of crystallization of Israeli sculpturewas influenced at every stage by international sculpture. In the early periodof Israeli sculpture, most of its important sculptors immigrants to the Land ofIsrael, and their art was a synthesis of the influence of European sculpturewith the way in which the national artistic identity developed in the Land ofIsrael and later in the State of Israel. Efforts toward the development of alocal style of sculpture began in the late 1930s, with the creation of\"Caananite\" sculpture, which combined influences from Europeansculpture with motifs taken from the East, and particularly from Mesopotamia.These motifs were formulated in national terms and strived to present therelationship between Zionism and the soil of the homeland. In spite of the aspirationsof abstract sculpture, which blossomed in Israel in middle of the 20th centuryunder the influence of the \"New Horizons\" movement and attempted topresent sculpture that spoke a universal language, their art included manyelements of earlier \"Caananite\" sculpture. In the 1970s, many newelements found their way into Israeli art and sculpture, under the influence ofinternational conceptual art. These techniques significantly changed thedefinition of sculpture. In addition, these techniques facilitated theexpression of political and social protest, which up to this time had beendownplayed in Israeli sculpture. 1194