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Jewish Quarterly
Wordslinger: Clive Sinclair burst onto the literary CLIVE scene like Wyatt Earp--and then he disappeared. live Sinclair spent most of his life in search ment of Custer’s Last Stand in Montana. (1948-2018) of his “inner cowboy”. He grew up in It was Smolinsky-like detective work that precipitated North London, in the 1950s as a self-styled this pilgrimage. On one of his many trips to local auc- SINCLAIR “Hendonite”. The dullness of suburban life tion-houses to obtain nineteenth-century Americana, was relieved by classical Westerns which Sinclair bought a photograph of a nude woman covered Cshaped his imagination. In the Sinclair household it was only in a thin black veil. He eventually discovered that the universally acknowledged that John Ford’s The Search- photograph was of Josephine Marcus, Wyatt Earp’s Jewish ers (1956), starring John Wayne, was the greatest movie wife for half a century, whose family came from Prussia. ever made. A visit to the Hendon Odeon to see a Hol- His two imagined homelands (Wild West America and lywood Western (after donning a cowboy outfit with Jewish Europe) had collided. The mysterious photograph The Forgotten his younger brother Stewart) was the highlight of the led to the two novellas in Meet the Wife (2002) and to his week. Centre-stage in their home was a photograph of travel bool True Tales of the Wild West (2008). the brothers Sinclair dressed as cowboys aged 8 and 4 (the year when The Searchers first appeared). In most first met Clive Sinclair as a twenty-something Revolutionary school photographs before the age of 11, Sinclair wore graduate student in the early 1980s. -
CURRICULUM VITA Anita Norich
CURRICULUM VITA Anita Norich ([email protected]) Department of English Language and Literature Frankel Center for Judaic Studies University of Michigan Ann Arbor, Michigan 48109 EDUCATION 1979 Ph.D. in English literature, Columbia University. Dissertation: “Benjamin Disraeli’s Novels: Personal and Historical Myths” 1975-79 Fellow in Yiddish literature, YIVO Institute for Jewish Research 1976 M.Phil., English literature, Columbia University—with High Honors 1974 M.A., English literature, Columbia University—with Distinction. “George Eliot and the Jews: Contemporary Responses to Daniel Deronda” 1973 A.B., Barnard College—Magna cum laude PROFESSIONAL EXPERIENCE 2007- Professor of English and Judaic Studies, University of Michigan 2006-2008 Frankel Institute for Judaic Studies Executive Director, Univ. of Michigan 1. Interim Associate Chair, Department of English, University of Michigan 1998-99 Interim Director, Frankel Center for Judaic Studies, University of Michigan 1991- Associate Professor of English and Judaic Studies, University of Michigan 1991-94 Chair of Undergraduate Studies, Department of English, University of Michigan 1983-1991 Assistant Professor, Department of English and Judaic Studies Program, University of Michigan p. 1 1981-83 Lady Davis Postdoctoral Fellow in Yiddish, Hebrew University, Jerusalem 1980-81 Adjunct Assistant Professor, University of Pennsylvania, Program in Comparative Literature 1979-81 Adjunct Assistant Professor, New York University, School of Continuing Education; Assistant Program Coordinator, General -
Antwerp in 2 Days | the Rubens House
Antwerp in 2 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect Rubens was talented in many areas of life. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. On your way to Hendrik Conscienceplein, we would suggest you make a brief stop at another church: St James’s Church (St Jacobskerk) in Lange Nieuwstraat. This robust building dooms up rather unexpectedly among the houses, but its interior presents a perfect harmony between Gothic and Baroque: the elegant Middle Ages and the flamboyant style of the 17th century go hand-in-hand here. -
Rubenianum Fund Field Trip to Princely Rome, October 2017
2017 The Rubenianum Quarterly 3 Peter Paul Rubens: The Power of Transformation Drawn to drawings: a new collaborative project Mythological dramas and biblical miracles, intimate portraits and vast landscapes – Although the Rubenianum seldom seeks the Peter Paul Rubens’s creative power knew no limits. His ingenuity seems inexhaustible, public spotlight for its scholarship, specialists and his imagination boundless. The special exhibition ‘Kraft der Verwandlung’ institutions in the field know very well where to turn (Kunsthistorisches Museum, Vienna, 17 October 2017–21 January 2018) sets out to to for broad, grounded and reliable art-historical explore this spirit of innovation, taking an in-depth look at the sources on which the expertise. Earlier this year, the Flemish Government Flemish master drew and how he made them his own. approached us with a view to a possible assignment Rubens had an unrivalled ability to apply his examples freely and creatively. concerning 17th-century drawings. Given that Ignoring the boundaries of genre, he studied the small-scale art of printmaking as well another of the Rubenianum’s unmistakable as monumental oil paintings. The artist’s extensive library provided a further source trademarks is its open and generous attitude to of inspiration, as did antique coins. He took three-dimensional sculptures – bronze statuettes, casts from nature and marble statues – and brought them to life in his collaboration, this task was indeed assigned to paintings. us thanks to a thoroughly prepared partnership Rubens drew, copied and interpreted as he saw fit throughout his life. Existing with the Royal Library of Belgium. We are proud, sources were transformed by his hand into something entirely new. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Jewish British Short Stories in English Since the 1970S
humanities Article Between or Beyond? Jewish British Short Stories in English since the 1970s Axel Stähler Department of Comparative Literature, University of Kent, Canterbury CT2 7NF, UK; [email protected] Received: 30 July 2020; Accepted: 9 September 2020; Published: 11 September 2020 Abstract: Looking at short stories by writers as diverse as Brian Glanville, Ruth Fainlight, Clive Sinclair, Jonathan Wilson, James Lasdun, Gabriel Josipovici, Tamar Yellin, Michelene Wandor, and Naomi Alderman, and extending from the center of Jewish British writing to its margins, this article seeks to locate the defining feature of their ‘Jewish substratum’ in conditions particular to the Jewish post-war experience, and to trace its impact across their thematic plurality which, for the most part, transcends any specifically British concerns that may also emerge, opening up an Anglophone sphere of Jewish writing. More specifically, it is argued that the unease pervading so many Jewish British short stories since the 1970s is a product of, and response to, what may very broadly be described as the Jewish experience and the precarious circumstances of Jewish existence even after the Second World War and its cataclysmic impact. It is suggested that it is prompted in particular by the persistence of the Holocaust and the anxieties the historical event continues to produce; by the confrontation with competing patterns of identification, with antisemitism, and with Israel; and by anxieties of non-belonging, of fragmentation, of dislocation, and of dissolution. Turned into literary tropes, these experiences provide the basis of a Jewish substratum whose articulation is facilitated by the expansion of Jewish British writers into the space of Anglophone Jewish writing. -
The Red Star Line and Jewish Immigrants
Saturday August 6, 2011 - Congregation for Humanistic Judaism – Unity Church, Sarasota THE RED STAR LINE Introduction There is no business than Sarasota business. It’s not from Irving Berlin, it’s my own interpretation. It is even not a quote, it is just what happened to me the previous years. By the way, Irving Berlin is one of the many who came to the United States with the Red Star Line from Antwerp. So, I am sincerely pleased to have been invited once again to Sarasota, a city which I am very fond of for many different reasons, both professional as private. I am even more moved because I found here a witness to a story that is very close to my heart. It is very close to my job as vice mayor for culture and tourism in the city of Antwerp as well. What I am referring to is the history of the Red Star Line shipping company and of immigration to the USA. We are opening a new museum on this topic next year in Antwerp: the Red Star Line|People on the Move museum. “The fact that we got out of Germany and then out of Antwerp, in the very last year that Red Star Line was running ships from Antwerp to the United States, was overwhelming” This is a quote from an interview we were able to make last year in Sarasota with Ms. Sonia Pressman Fuentes. Sonia and her parents and brother were among the many families that emigrated to the USA via Antwerp on a Red Star Line ship. -
Sources of Photographs and Indexes Sources of Photographs
SOURCES OF PHOTOGRAPHS AND INDEXES SOURCES OF PHOTOGRAPHS H.M. the Queen: Fig. 181 London, A.C.Cooper: Figs.12, 23, 31, 47-50, 53, Althorp, The Earl Spencer: Fig. 13 71, 82, 102, 129, 160, 172, 176 Amsterdam, Fotocommissie Rijksmuseum: London, Courtauld Institute Galleries: Figs.147, F ig.87 149 Amsterdam, Gemeentemusea: Fig.45 London, J.Freeman: Figs.16, 30 A n tw e rp , J. D e M ae y e r: Figs. 17, 18 London, National Gallery: Figs.9, 10, 85, 110-112, Antwerp, Rubenianum: Figs.2, 4, 5, 6, 11, 14, 152, 200, 201 15, 39 , 43 , 44 , 46 , 55 , 66-69, 7o, 74, 74 , 78, 81, London, S.Newbery: Figs. 165, 227 90, 91, 93, 98, lo i, 105, 108, 121, 125, 126, 128, London, H.J.Orgler: Fig.229 131, 132, 135, 136, 138, 139, 142, 146, 150, 151, London, Royal Academy: Fig.116 156, 157, 159, 162, 163, 166, 167, 169-171, 174, Madrid, Museo del Prado: Figs.3, 76 175, 177, 178, 189, 193, 198, 203, 208-213, 2,18, Munich, Bayerische Staatsgemaldesammlungen : 222, 228, 234, 240, 241, 111. p.206 Figs.24-27, 29, 42, 84, 92, 145, 184-188, 192, Antwerp, ’t Felt: Fig.207 220, 239 Barcelona, Mas: Fig.22 New York, Metropolitan Museum of Art: Berlin, Staatliche Museen Preussischer Kultur- Figs.117, 133, 195-197, 135 besitz: Fig. 191 New York, Pierpont Morgan Library: Fig.230 Berlin (DDR), Staatliche Museen: Fig.83 Nîmes, Musée des Beaux-Arts: Fig.32 Brunswick, Herzog Anton-Ulrich Museum: Paris, Archives Photographiques: Figs.97, 119, Fig.216 123, 124 Brussels, A .C .L.: Figs.120, 122, 153, 223 Paris, Bibliothèque Nationale: Fig.237 Brussels, Bibliothèque Royale: Fig.236 Paris, B u llo z: Figs.96, 226 Brussels, Speltdoorn: Fig.109 Paris, Giraudon: Fig.118 Cleveland, The Cleveland Museum of Art : Paris, Réunion des Musées Nationaux: Figs. -
9789401453776.Pdf
Met Rubens door Antwerpen 1 RUBENS’ ANTWERP Irene Smets A GUIDE Contents 9 With Rubens through Antwerp 10 Chronological summary of Rubens’ life 12 Rubens and his time 14 Childhood 17 Artistic training and his stay in Italy 22 A future in Antwerp 26 The unfolding of a great talent 34 Protagonist of the Baroque 40 Spectacular productivity - with the help of his workshop 47 Major commissions and international fame 52 A role in European politics 60 The lyrical period 72 Discovering Rubens in Antwerp 75 Royal Museum of Fine Arts in Antwerp 89 Groenplaats 91 Plantin-Moretus Museum 97 Cathedral of Our Lady 110 Grote Markt 113 St. Charles Borromeo Church 119 Snijders & Rockox House 123 The Emperor’s Chapel 125 St. Willibrord’s Church 127 St. Paul’s Church 135 St. Anthony of Padua’s Church 137 St. James’s Church 141 Rubens House Contents 7 8 With Rubens through Antwerp With Rubens through Antwerp Peter Paul Rubens was one of the most important representatives of the art of his time, the Baroque. More than that, he was also one of the most productive artistic geniuses who ever lived. His talents were remarkably varied: in addition to the magnificent religious and mythological canvases for which he is most famous, he also painted landscapes and portraits, as well as making designs for book illustrations, tapestries, buildings and sculptures. He was an outstanding colourist, who raised the skilled use of a rich palette of shades and tints to a new and important form of expression. He also understood the techniques necessary to create dramatic scenes that were capable of seizing and holding the imagination of the viewer. -
Fran Ois De CALLATAŸ** * GLORY and MISERY of BELGIAN
Franois de CALLATAŸ* * GLORY AND MISERY OF BELGIAN NUMISMATICS FROM THE 16th TO THE 18th C. AS SEEN THROUGH THREE MILESTONES (GOLTZ 1563, SERRURE 1847 AND THE DEKESELS) AND PRIVATE CORRESPONDENCES Abstract – e first part of this paper aims at remembering and commenting three milestones: 1) the long list of 981 collectors published by Hubert Goltz(ius) in 1563, 2) the rather detailed narrative by Constant-Philippe Serrure in 1847, which remains the only ﬔll treatment of the subject still today, and 3) the impressive catalogues put together by the Dekesels, Christian and Yvette, on numismatic works published in the 16th-18th c. e second part of the paper focuses on numismatic correspondence, a much neglected kind of evidence. No less than 192 letters, related in one way or another to numismatics in the Southern Netherlands, are listed and ﬔlly reproduced for the first time together (see Annex). e following specific large sets are included: 1) the correspondence exchanged between Abraham Ortels and Jacob Cool in the second part of the 16th c. (43 letters), 2) the correspondence exchanged between Peter- Paul Rubens and Claude Fabri de Peiresc during the first third of the 17th c. (90 let- ters), and 3) the 18 letters written by Guillaume de Crassier and Bernard de Mont- faucon in the first decades of the 18th c. ese private letters confirm and even am- plify what is described by Goltz, Serrure and the Dekesels: the highly developed level of numismatics in the Southern Netherlands from the mid-16th c. up to the 1630s (the glory), the profound and lasting decline aerwards (the misery). -
Download Programme Antwerp Barok 2018
FLEMISH MASTERS 2018-2020 ANTWERP BAROQUE 2018 BAROQUE ANTWERP PROGRAMME Programme www.antwerpbaroque2018.be Cultural city festival I june 2018 — january 2019 © Paul Kooiker, uit de serie Sunday, 2011 — vu: Wim Van Damme, Francis Wellesplein 1, 2018 Antwerpen 1, 2018 Wellesplein Francis Damme, — vu: Wim Van 2011 uit de serie Sunday, Kooiker, © Paul Paul Kooiker The cover photo was taken by the Dutch photographer Paul Kooiker. See more of his surprising nudes at the FOMU. expo Paul Kooiker 71 Behind the scenes Frieke Janssens The striking portraits in this portrayed. The ostrich feathers brochure were taken by the in Herr Seele’s portrait epitomise Belgian photographer Frieke exoticism and lavish excess. Janssens. “Baroque suits me, it Yvon Tordoir also paints skulls suits my photographic style.” in his street art but a skull also Janssens mainly studied the embodies power, fearlessness and self-portraits of Rubens and the rebelliousness. The soap bubbles in portrait of his wife, Isabella Brant. the portrait of the musician Pieter “I refer to the pose, the attributes, Theuns symbolise the “ephemeral” that same atmosphere in my while the peacock represents photos. People often associate pride and vanity. I thought this Baroque with exuberance and was a perfect element for Stef excess, whereas my portraits are Aerts and Damiaan De Schrijver, almost austere. Chiaroscuro is a who work in the theatre. I chose typically Baroque effect though. herring, the most popular ocean I use natural daylight, which fish in the sixteenth century for makes my photos look almost like the ladies of Alle Dagen Honger. paintings.” I wanted to highlight the female “I also wanted the portraits power of Anne-Mie Van Kerckhoven to have a contemporary feel.