Had Gadya the Only Kid: Facsimile of El Lissitzky's Edition of 1919
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This page intentionally left blank EDITED by Arnold J. Band INTRODUCTION by Nancy Perloff INTRODUCTION TRANSLATION ICONOGRAPHY VOCABULARY MUSIC FACSIMILE Published by the Getty Research Institute ReSources ARNOLD J. BAND is professor emeritus of Hebrew and comparative literature at the University of California, Los Angeles. His research focuses on the relationship between texts and historical contexts in Jewish literature of all periods and in modern Hebrew literature specifically. His publications include Nostalgia and Nightmare: A Study in the Fiction of S. Y. Agnon (1968); an annotated volume of translations of the Hasidic tales of Nahman of Braslav; and articles on subjects such as Franz Kafka, Hayyim Nahman Bialik, the Book of Jonah, semantic rhyme in Hebrew prosody, and modern Israeli fiction and poetry. Dr. Band founded the UCLA Department of Comparative Literature in 1969 and served as the director of the UCLA Center for Jewish Studies from 1994 to 1996. He has received a UCLA Dis tinguished Teaching Award, a National Endowment for the Humanities Fel lowship, and a Guggenheim Fellowship. NANCY PERLOFF is collections curator of modern and new media collections at the Getty Research Institute, where she focuses on acquisitions in European ReSources makes available primary materials and Russian modernism and in postwar music and the visual arts. Drawing held by Special Collections of the Research Library on the'holdings of the Getty Research Institute, Dr. Perloff has organized of the Getty Research Institute. These holdings, the exhibition Monuments of the Future: Designs by El Lissitzky (with Eva which range in date from the fourteenth century Forgacs, 1998) and the symposium "The Art of David Tudor: Indeterminacy to the present, include rare books, unpublished and Performance in Postwar Culture" (2001). She has published Art and the manuscripts, sketches, prints, photographs, archi Everyday: Popular Entertainment and the Circle of Erik Satie (1991) and tectural models, and the archives of artists, col essays on John Cage, Paul Gauguin, and the artistic partnership of El Lissitzky lectors, critics, and galleries. Offering scholarly and Kurt Schwitters. She is coeditor of Situating El Lissitzky: Vitebsk, Berlin, analyses that place these rich visual and textual Moscow (with Brian Reed, 2003). materials in context, the facsimiles, translations, monographs, edited collections, and exhibition catalogs in this series showcase exceptional sources that will further critical inquiry into all forms of art. —Thomas Crow, Director, Getty Research Institute THE GETTY RESEARCH INSTITUTE PUBLICATIONS PROGRAM PUBLISHED BY THE GETTY RESEARCH INSTITUTE, LOS ANGELES Thomas Crow, Director, Getty Research Institute Getty Publications Gail Feigenbaum, Associate Director, Programs 1200 Getty Center Drive, Suite 500 Julia Bloomfield, Head, Publications Program Los Angeles, CA 90049-1682 Jeffrey Hurwit, Jacqueline Lichtenstein, Alex Potts, and www.getty.edu Mimi Hall Yiengpruksawan, Publications Committee © 2004 J. Paul Getty Trust HAD GADYA: THE ONLY KID 08 07 06 05 04 5 4 3 2 1 Edited'by Arnold J. Band Elizabeth May, Manuscript Editor LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Hillary Sunenshine, Designer Had gadya. Polyglot. Amita Molloy, Production Coordinator Had gadya = The only kid : facsimile of El Lissitzky's edition of 1919/ Printed and bound by Trifolio, Verona, Italy introduction by Nancy Perloff; edited by Arnold J. Band. p. cm. - (ReSources) Text of Had gadya in Aramaic and Yiddish as part of illustrations, All works by El Lissitzky are © 2004 Artists Rights Society with English translation; introd. in English. (ARS), New York/VG Bild-Kunst, Bonn, and are reproduced Includes bibliographical references, in this volume by permission. ISBN 0-89236-744-X 1. Passover-Liturgy-Texts. 2. Judaism-Liturgy-Texts. 3. Had gadya-ln art. I. Lissitzky, El, 1890-1941. II. Band, Arnold J. III. Getty Research Institute. IV. Title: Only kid. V. Title. VI. Series. BM670.H28L5712 2004 296.4'537-dc22 2003017471 INTRODUCTION Nancy Perloff WITH HIS ILLUSTRATED BOOK OF THE PASSOVER SONG "HAD GADYA" Vitebsk was within the Pale of Settlement, the region, comprised of (The only kid), dated 6 February 1919, the Russian avant-garde artist El land annexed from Poland and Turkey, in which the majority of Russian Jews Lissitzky (1890-1941) had reached a pivotal moment in his career. For the past were forced to live from the late eighteenth century until 1917. A primary four years, he had focused almost exclusively on the study of Jewish folk concern of the czarist state in creating the Pale was to keep Jews from con culture and the design and illustration of books in Yiddish. Now, in summer ducting commerce in Russia proper. Periodically, however, permits to live 1919, he would join the faculty at the Popular Art Institute in Vitebsk (Vitebskoe outside the Pale were issued—to alleviate overcrowding or on account of an Narodnoe khudozhestvennoe uchilishche), where, inspired in part by the individual's profession or education—and as a result Jewish communities suprematist painter Kazimir Malevich, he would turn to abstract painting. emerged in places such as Smolensk and Pochinok, just east of the Pale.2 Lissitzky's Had gadya marks the culmination of his artistic and personal Lissitzky's coming-of-age in and near the Pale would have been shaped engagement with Judaica. One of the last works that he signed under his by a powerful Jewish solidarity, the community-wide response to the knowl Hebrew given name, Eliezer, the book displays Lissitzky's interest, at once edge that Jews would never be considered true Russians. Throughout playful and reverent, in the languages and symbols of the Jewish culture. much of Lissitzky's parents' and grandparents' lives, the Jewish experience Instead of the traditional Aramaic, Lissitzky chose Yiddish for the song's in Russia was one of discrimination. During the 1820s, quotas were estab verses, which he set into architectural frames above the illustrations. Both lished to limit the presence of Jews in Russian-language schools and uni Aramaic and Yiddish are written in the Hebrew alphabet, but Yiddish, then versities, and large numbers of Jewish boys were conscripted into the army. the vernacular of Ashkenazic Jews, was apt to be more familiar to his audi Simultaneously, however, in an effort to assimilate Jews into the mainstream ence. Lissitzky did incorporate Aramaic, however, by introducing each new society, the state enacted policies of so-called Russification. For example, verse with an Aramaic phrase, printed on the lower right-hand corner of the also in the 1820s, government schools were encouraged to retrain Jews in page. And for the pagination, he used decorative Hebrew letters, each of fields other than trade, that is, as farmers, craftsmen, or professionals. By the which has a numerical value. Though Lissitzky's focus in terms of subject early 1860s, after Czar Alexander N's relaxation of the conscription sys matter would soon change dramatically, in his experimentation with lan tem brought glimpses of freedom, Jews were given reason to hope that guage, typography, and architectural form, we can already see in the Had they could attain the status of true Russians. While the assassination of gadya many of the elements that would define his avant-garde work in the Alexander II in 1881 set off a wave of pogroms that continued until the revo following decades. lution of 1917, the popular uprisings of the revolution of 1905 forced Czar Lissitzky's decision to illustrate a traditional Passover song reflects both Nicolas II to institute reforms that transformed Russia from an autocracy into his religious upbringing and his participation as a young artist in the Jewish a constitutional monarchy. Subsequently, many of the restrictions on Jews cultural revival that took place in Russia from roughly 1912 to the early 1920s. were lifted, enabling them to create political parties and become eligible for Born in 1890 in Pochinok, a small market town just south of Smolensk, election to parliament. Though pogroms threatened the stability of this new Lissitzky grew up in the Russian (now Belarussian) city of Vitebsk. He was order, the relative political and artistic freedom that Jews enjoyed from 1905 raised by a pious Jewish mother and an intellectual father who prided him until the outbreak of World War I gave rise to a celebration of the Jewish heri self on being fluent in Russian, Yiddish, German, and English and on his gifts tage, specifically secular, among Russian Jewish artists—and it was within as a translator. During his secondary school years, Lissitzky moved between this context that Lissitzky first developed an artistic identity.3 Smolensk, where he attended school and lived with his maternal grandpar At the center of this renaissance of Jewish secular culture was the ents, and Vitebsk, where he learned to paint traditional Jewish genre influential art critic Vladimir Stasov. Based in Saint Petersburg, Stasov had III scenes under the tutelage of Yehudah Pen, one of the few Russian Jewish close ties to leaders of the Jewish artistic and business communities who were artists to be accepted by the Imperial Academy of Arts (Imperatorskaia seeking to uncover and revive traditional Jewish art forms. With Baron David akademiia khudozhestv) in Saint Petersburg. After completing his studies, Gunzburg, the son of a wealthy businessman and philanthropist, Stasov helped Pen had returned to Vitebsk to open his own school of art in 1892, where, in publish a book of Jewish manuscript ornamentation, entitled L'ornement hebreu addition to Lissitzky, he also taught Marc Chagall.1 (1905).4 Inspired by this work, the Jewish intelligentsia of Saint Petersburg began collecting and publishing eastern European Jewish artifacts, both secular and religious. In 1912, with the financial help of Gunzburg's father, Baron Horace Gunzburg, and with the guidance of the folklorist and play wright Semyon Ansky, the Jewish Historical and Ethnographic Society (Evreiskoe istorichesko-etnograficheskoe obshchestvo) embarked on the Fig.