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The Torah Ark of Arthur Szyk arts Article The Torah Ark of Arthur Szyk Susan Nashman Fraiman Rothberg International School, The Hebrew University of Jerusalem, Jerusalem 9190501, Israel; [email protected] Received: 14 April 2020; Accepted: 13 May 2020; Published: 19 May 2020 Abstract: This paper discusses the design and symbolism of a hitherto unpublished work by the artist Arthur Szyk (1894–1951), an ark for the Torah which he designed for the Forest Hills Jewish Center of Queens, New York, and which was dedicated in 1949. The Torah Ark is the central focus of all synagogue worship. Szyk’s ark is unique in its multiplicity of symbols and texts, which was at odds with the modernist idiom of post-World War II synagogue architecture. This research, which also brings previously unpublished material, analyzes the possible sources for the work and its distinctive message, which is exceptional in the world of modern contemporary Jewish art. Keywords: Arthur Szyk; synagogue; Jewish art; tribes; freedom; Ben-Zion Bokser 1. Introduction In the last few years, interest in the art of Arthur Szyk has taken a dramatic turn. From an artist who was popular in the 1940s, blacklisted in the early 1950s, and often associated with kitsch and a reactionary art style in the late 20th century (Mendelsohn 2010, p. 324), Szyk has been the subject of several monographs1 and exhibits2 in the last two decades. A huge collection of his work, amassed by a private collector, was recently donated to the Magnes Collection of Jewish Art and Life in Berkeley. Known as The Taube Family Arthur Szyk Collection, it contains hundreds of works, many of them unpublished, including sketches for book illustrations, posters, and caricatures. Interestingly enough, one of Szyk’s most unique creations, a Torah Ark (Figure1) he designed for the Forest Hills Jewish Center of Queens, NY, has never been studied. The ark is an unusual combination of traditional symbols with new elements, and this article discusses its history and unique iconography. 1 See (Ansell 2004) and a scholarly reevaluation of his famous Haggadah, (Sherwin and Ungar 2008). 2 To mention a few in the last twenty years: Arthur Szyk: Artist for Freedom at the Library of Congress, 9 December 1999–6 May 2000. https://www.loc.gov/exhibits/szyk/, accessed on 8 December 2019; The Art and Politics of Arthur Szyk, United States Holocaust Memorial Museum, 10 April 2002–14 October 2002; https://www.ushmm.org/exhibition/szyk/, accessed on 8 December 2019; and the exhibit at the New York Historical Society, 15 September 2017–21 January 2018; https://www. nyhistory.org/exhibitions/arthur-szyk-soldier-art, accessed on 8 December 2019. Arts 2020, 9, 60; doi:10.3390/arts9020060 www.mdpi.com/journal/arts Arts 2020, 9, 60 2 of 18 Arts 2020, 9, x FOR PEER REVIEW 2 of 19 Figure 1. TorahTorah Ark and bimah, Forest Hills Jewish Center, 1949 (photographed 2017 byby thethe author).author). 2. The Artist The artist Arthur Szyk Szyk (1894–1951) (1894–1951) was was born born and and raised raised in in Lodz, Lodz, Poland. Poland. Szyk Szyk studied studied art art in inCracow Cracow and and Paris Paris and traveled and traveled to Palestine to Palestine in 1914 in (Luckert 1914 ( Luckert2002, p. ,9; p. Ansell 9; Ansell 2004, p.2004 20) ,and p. Morocco 20) and Moroccoin 1925 (ibid., in 1925 p. 44). (ibid., Szyk p. is 44). best Szykknown is for best his known oft‐reproduced for his oft-reproduced Haggadah.3 The Haggadah. Szyks, who3 The had Szyks, been wholiving had in Paris, been livingmoved in to Paris, London moved in 1937, to London to work in on 1937, the topublication work on the of the publication Haggadah. of theIn the Haggadah. end, the InHaggadah, the end, thewhich Haggadah, was printed which on wasparchment, printed was on parchment, dedicated to was King dedicated George tothe King VI (Ansell George 2004, the VIp. (97;Ansell Cohen 2004 1946/1947,, p. 97; Cohen p. 73), 1946 and/1947 published, p. 73), with and an published introduction with by an Cecil introduction Roth. At by the Cecil same Roth. time, At Szyk the samewas also time, drawing Szyk was anti also‐fascist drawing cartoons anti-fascist for the cartoons British for Press. the British The outbreak Press. The of outbreakthe war ofmade the warthe madecomplete the completepublication publication of the Haggadah of the Haggadah difficult, so difficult, the peripatetic so the peripatetic Szyks moved Szyks to moved Canada to Canadain 1940, inwhere 1940, they where stayed they for stayed six months. for six4 months.At the end4 At of the 1940, end the of Szyks 1940, themoved Szyks to movedthe New to York the New City area, York Citywhere area, Szyk where immediately Szyk immediately immersed himself immersed in both himself the inpolitical both the and political artistic andscene artistic of the sceneUS. He of had the US.several He hadhigh several‐profile high-profile public exhibitions public exhibitionsof his work of(Ansell his work 2004, (Ansell p. 121) 2004 and, p.continued 121) and his continued anti‐fascist his anti-fascistactivity in art, activity mainly in art, through mainly caricature. through caricature. He published He publisheda book of ahis book caricatures of his caricatures in 1941, and in 1941, his andcaricatures his caricatures also appeared also appeared in a wide in avariety wide variety of American of American publications, publications, mercilessly mercilessly lampooning lampooning both boththe Nazis the Nazis and andthe Japanese. the Japanese. By 1942, By 1942, his hisname name had had already already appeared appeared on on the the cover cover of of TheThe American Hebrew asas one one of of the the notable notable American American Jews Jews of of 1941, 1941, along along with with Eddie Eddie Cantor, Cantor, Rabbi Rabbi David David de Sola de Pool,Sola LouisPool, Louis Finkelstein, Finkelstein, and Israel and Goldstein, Israel Goldstein, to name ato few name others. a few5 In others. 1942, the5 In Haggadah 1942, the wasHaggadah exhibited was at theexhibited Jewish at Theological the Jewish Seminary.Theological6 Seminary.6 3. The Forest Hills Project Szyk likely got involved with the project in Forest Hills through one of its prominent members, 7 Herman JaJaffe.ffe.7 In fact, a copy of the original Haggadah, signed by both Szyk and Cecil Roth, with a 3 The HaggadahHaggadah was was published published in 1940in 1940 in England in England (Roth (Roth1969, p.1969, 50). p. According 50). According to the Jewishto the TheologicalJewish Theological Seminary announcementSeminary announcement (Alfred Werner (Alfred collection, Werner M.E. Grenander collection, Department M.E. Grenander of Special Collections Department & Archives of Special University Collections at Albany, & SUNYArchives archive), University some 240 at copies Albany, were SUNY printed, archive), of which 115some were 240 in thecopies United were States. printed, The Haggadah of which was 115 printed were multiple in the times in both Israel and the United States. A recent facsimile was reissued, with translation and commentary by Byron L. SherwinUnited withStates. Irvin The Ungar, Haggadah in 2011 ( Szykwas 2011printed). multiple times in both Israel and the United States. A recent 4 Theyfacsimile lived was in London reissued, from 1937with until translation 1940 (Ansell and 2004 commentary, pp. 117–19). by Byron L. Sherwin with Irvin Ungar, in 2011 5 Cover(Szyk of2011).The American Hebrew “For Better Understanding between Christians and Jews”, 16 January 1942. 6 4 TheThey Haggadah lived in wasLondon put on from display 1937 at until the Jewish 1940 Theological(Ansell 2004, Seminary pp. 117–19). in the spring of 1942, as mentioned in the Flatbush Jewish Center Bulletin of the same year, undated (Alfred Werner collection, M.E. Grenander Department of Special Collections 5 &Cover Archives of The University American at Hebrew Albany, “For SUNY Better archive). Understanding This exhibit between does not Christians appear in the and list Jews”, that appears 16 January at the 1942. end of 6 (TheUngar Haggadah 2017a). was put on display at the Jewish Theological Seminary in the spring of 1942, as mentioned in 7 Irvinthe Flatbush Ungar in Jewish discussion, Center December Bulletin 2018. of the Jaff samee was year, an art undated printer who (Alfred lived Werner in Forest collection, Hills, so it M.E. is not Grenander surprising that he would have known Szyk. https://www.nytimes.com/1971/05/08/archives/herman-jaffe-77-printed-art-stamps.html, Department of Special Collections & Archives University at Albany, SUNY archive). This exhibit does not appear in the list that appears at the end of (Ungar 2017a). 7 Irvin Ungar in discussion, December 2018. Jaffe was an art printer who lived in Forest Hills, so it is not surprising that he would have known Szyk. https://www.nytimes.com/1971/05/08/archives/herman‐jaffe‐77‐ ArtsArts 20202020,, 99,, 60x FOR PEER REVIEW 3 of 1819 dedication to the Jaffes, is in the collection of the synagogue (Figure 2). In May 1943, Szyk’s Haggadah dedication to the Jaffes, is in the collection of the synagogue (Figure2). In May 1943, Szyk’s Haggadah was exhibited at the National Conference for Palestine. One of the speakers was the prominent was exhibited at the National Conference for Palestine. One of the speakers was the prominent American Reform Rabbi Abba Hillel Silver (Ansell 2004, p. 129). Szyk was a Zionist, interestingly American Reform Rabbi Abba Hillel Silver (Ansell 2004, p. 129). Szyk was a Zionist, interestingly enough, of the Revisionist persuasion (ibid., p. 39). In 1946, Silver commissioned Szyk to design enough, of the Revisionist persuasion (ibid., p. 39). In 1946, Silver commissioned Szyk to design stained‐glass windows for the Temple Tifereth Israel, his synagogue in Cleveland, in memory of stained-glass windows for the Temple Tifereth Israel, his synagogue in Cleveland, in memory of congregants who died fighting in World War II.
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