DOCSLIB.ORG

Jacob Kramer Jacob Kramer Was Born in Ukraine in 1892, and His Family Emigrated to England When He Was About Eight Years Old in 1900

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jacob Kramer Jacob Kramer Was Born in Ukraine in 1892, and His Family Emigrated to England When He Was About Eight Years Old in 1900 www.jewsfww.london ! Jacob Kramer Jacob Kramer was born in Ukraine in 1892, and his family emigrated to England when he was about eight years old in 1900. They settled in Leeds where he went to school and later attended evening art classes. He then won scholarships to cover his costs as a day student at Leeds Art School and was encouraged to continue his studies in London. In 1913 he was admitted to the Slade School of Fine Art with a loan from the Jewish Education Aid Society and support from Michael Sadler, Vice- Chancellor of Leeds University who was also an important collector of modern art and President of the modernist Leeds Arts Club. Whilst at the Slade, Kramer met Mark Gertler and David Bomberg and was caught up with the spirit of British modernist painting alongside Nevinson, Wadsworth and Roberts who was to marry his sister Sarah. He was elected a member of The London Group of artists in 1915 which was a very loose confederation of modernist artists whose common theme was they had no intention of continuing with the Victorian and Edwardian traditions of painting. Kramer fully engaged with modernism and was also invited to exhibit with the Vorticists in 1915 and did so but he never fitted to a clearly defined model either as an artist or a person. The early decades of the 1910s and 1920s were his most accomplished periods. Bomberg and Epstein included him in their 1914 Whitechapel Gallery exhibition Twentieth Century Art: A Review of Modern Movements. He was sculpted by Jacob Epstein in a remarkable study in 1921 (Ben Uri and Tate collections) and he reciprocated in 1930 by drawing Epstein and producing a signed limited edition lithograph (Ben Uri and Leeds Art Gallery collections). Kramer was comfortable with his Jewish roots and the diversity of artists around him at the Slade and although not able to cope with the demands of a northern lad surviving in ‘the smoke’ art historians are happy to see him within the prism of a Whitechapel boy. Kramer’s returned to Leeds in the 1920s and his career descended from the 1930s more because of drink than being outside the metropolis. He survived as a fine if unpredictable local portraitist but never returned to the London art scene for any meaningful duration. He died in a Jewish old age home in Balham in 1962 following perhaps his greatest recognition of a major retrospective in Leeds City Art Gallery two years earlier which is recorded as drawing record attendances celebrating their ‘local’ boy’s achievements of which there were many. 1 www.jewsfww.london ! ‘The Day of Atonement’ (1919) by Jacob Kramer (1892 – 1962) pencil, brush and ink on paper This drawing is a study for a large painting ‘The Day of Atonement’ in the Leeds Art Gallery collection and both were painted in 1919. ‘The Day of Atonement’ has became one of the most iconic British works depicting a Jewish religious occasion. Kramer’s study, as in the final painting, shows a number of people in procession wearing traditional Jewish prayer shawls (talit), their sombre expressions reflecting the importance of the occasion known in Hebrew as Yom Kippur (The Day of Atonement). He chose to represent the Jewish faith’s holiest day, through the modernist artistic style which he was experimenting with. He showed robes falling in straight lines, which combined with strong use of light and shade, created regularly- repeated, patterned shapes representing the people in the procession. This reflected his interest in cubism and the vorticist movement but his application of modernist techniques also carefully reflected the solemnity of the event being depicted. He did not seek controversy and was aware of the religious significance of the scene he portrayed. He also strove for an emotional connection with his subjects, later calling for a spiritual discernment by artists.i 2 www.jewsfww.london ! Jacob Kramer – Biography Born: 1892 Ukraine Family Origin: Ukraine Grew Up: 1892-1900 Ukraine 1900-1913 Leeds before moving to London General Notes: 1919 ‘Day of Atonement’ – a seminal work of Anglo-Jewish art Education: 1913-1914 Slade School of Fine Art, London Funding included: Jewish Education Aid Society. Michael Sadler Military Service 1918 Regimental librarian Died: 1962 Leeds For further information about the artist and to see further examples please go to the Ben Uri Collection website. i J.D. Roberts ‘The Kramer Documents’ (1982) p.41 3 .
Load more

Recommended publications
  • The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
    TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period.
    [Show full text]
  • Biographical Sketches of Key Pupils
    Appendix E Biographical Sketches of Key Pupils John Godolphin Bennett (1897–1974) was a scientist and philosopher who first met Gurdjieff in Istanbul in 1921 when he was working as an interpreter and personal intel- ligence officer in the British Army. In London that year Bennett began attending meet- ings held by Ouspensky on Gurdjieff’s teaching, and in 1922 he met Gurdjieff again. Bennett made brief visits to Gurdjieff’s Institute at Fontainebleau in February and August of 1923. In the 1930s Bennett formed his own group of followers, and rejoined Ouspensky’s group. In 1946 Bennett established an Institute at Coombe Springs, Kingston-on-Thames in Surrey. After a twenty-five year break Bennett renewed his ties with Gurdjieff in Paris in 1948 and 1949, at which time Gurdjieff taught him his new Movements. In 1949 Gurdjieff named Bennett his ‘official representative’ in England, with reference to the publication of Tales. After Gurdjieff’s death Bennett became an independent teacher, drawing from Sufi, Indian, Turkish, and Subud traditions. In 1953 he travelled through the Middle East hoping to locate the sources of Gurdjieff’s teach- ing among Sufi masters. By the end of his life he had written around thirty-five books related to Gurdjieff’s teaching.1 Maurice Nicoll (1884–1953) studied science at the University of Cambridge before travelling through Vienna, Berlin, and Zurich, eventually to become an eminent psy- chiatrist and colleague of Carl Gustav Jung. Nicoll was a member of the Psychosynthesis group, which met regularly under A.R. Orage, and this connection led Nicoll to Ouspensky in London in 1921.
    [Show full text]
  • The New Age Under Orage
    THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G.
    [Show full text]
  • Van Gogh Museum Journal 2002
    Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.
    [Show full text]
  • Ed 400 399 Author Title Institution Report No Pub Date Available from Pub Type Edrs Price Descriptors Abstract Document Resume C
    DOCUMENT RESUME ED 400 399 CE 072 717 AUTHOR Marriott, Stuart, Ed.; Hake, Barry J., Ed. TITLE Cultural and Intercultural Experiences in European Adult Education. Essays on Popular and Higher Education since 1890. Leeds Studies in Continuing Education. Cross-Cultural Studies in the Education of Adults, Number 3. INSTITUTION Leeds Univ. (England). Dept. of Adult and Continuing Education. REPORT NO ISBN-0-900960-67-1; ISSN-0965-0342 PUB DATE 94 NOTE 322p.; For a related document in the Cross-Cultural Studies series, see CE 072 716. AVAILABLE FROMLeeds Studies in Continuing Education/Museum of the History of Education, Rm. 14, Parkinson Court, University of Leeds, Leeds LS2 9JT, United Kingdom. PUB TYPE Reports Research/Technical (143) EDRS PRICE MFO1 /PC13 Plus Postage. DESCRIPTORS *Adult Education; Andragogy; Case Studies; Continuing Education; Cross Cultural Studies; *Cultural Context; Cultural Differences; *Cultural Exchange; Educational Change; Educational History; Educational. Objectives; Educational Policy; *Educational Practices; *Educational Trends; Extension Education; Foreign Countries; Higher Education; *Role of Education IDENTIFIERS *Europe; Folk High Schools; Popular Education ABSTRACT This book contains the following papers from a European research seminar examining the history and theory of cross-cultural communication in adult education: "Introduction" (Stuart Marriott, Barry J. Hake); "Formative Periods in the History of Adult Education: The Role of Social and Cultural Movements in Cross-Cultural Communication" (Barry J.
    [Show full text]
  • Creativity and Political Identification in the Work
    8 Jagodzinski Herbert Read 9 With this very same conviction, authors who have wri~en o!, Aesthetic Issues in the journals second section go about decentenng this CREATIVITY AND POLITICAL IDENTIFICATION "object" of institutional discourse by showing us that there is a wide range of aesthetics to be seen/ scene at the margins. Cherokee Culture, Native IN TIIE WORK OF HERBERT READ American Artifacts, and the 'neighborhood' view of art are examined. These political locations constitute periphery, marginalized spaces which mainstream art education seldom entertains in its stockjoumals. Rafferty's study of Vancouver graffiti artists is a paradigmatic case study of those dis­ DAVID THISTLEWOOD enfranchised artists outside the art world who legitimate themselves as artists in their revolt against arts institutionalization. In a postmodern world, the irony remains that there is no political space outside/ inside the The idea of a class conflict, in which a powerful minority subjugates art institution. These graffiti artists have become legitimated through their the majority among other ways by depriving it of any sense of self-~te~m very documentation. Schellin adds yet another important dimension to the deriving from worthwhile, origmal work - that is, by suppressmg Its artist as Outsider. He questions the representation of AIDS victims in his creativity - was something Herbert Read acquired through his youthful own poetic way, thereby heightening our consciousness as to the neglect involvement in the late stages of the Arts and Crafts Movement. It was a this sOcio-historical issue has for art educators. Historically there has premise he was never seriously to question, as was the corresponding idea always existed an iconography of disease - how the Other's Body as that to assert one's right to be creative was to engage in a political act.
    [Show full text]
  • Luigi Pericle
    LUIGI PERICLE Il volume celebra Luigi Pericle, pittore, ma anche The volume celebrates Luigi Pericle, painter, thinker, pensatore, letterato, studioso di teosofia writer, scholar of theosophy and esoteric doctrines. e di dottrine esoteriche, rivelando la sua storia It reveals his extraordinary history, made of profound straordinaria, fatta di ricerche profonde e grandi explorations and outstanding encounters. incontri. Dal noto collezionista Peter G. Staechelin From the acclaimed collector Peter G. Staechelin a Sir Herbert Read, trustee della Tate Gallery; to Sir Herbert Read, trustee of the Tate Gallery; dal museologo Hans Hess, curatore della York Art from museologist Hans Hess, curator of the York Art Gallery, al celebre artista e regista tedesco Gallery, to famous German artist and filmmaker Hans Richter. Tutti furono attratti dal suo carisma, Hans Richter. They were all attracted by his charisma, dalla sua personalità versatile, dalla sua arte his multifaceted personality, his ‘clairvoyant’ art. “chiaroveggente”. Con Luigi Pericle, la storia With Luigi Pericle, the history of Art Informel dell’arte informale del secondo Dopoguerra si in the years following World War II opens up apre inaspettatamente alla filosofia, alla spiritualità unexpectedly to philosophy, alternative spirituality, alternativa, ai misteri del cosmo, sullo sfondo the mysteries of the cosmos against the background dell’era spaziale. of the space age. LUIGI PERICLE BEYOND THE VISIBLE BEYOND THE VISIBLE € 39,00 www.silvanaeditoriale.it LUIGI PERICLE LUIGI PERICLE BEYOND THE VISIBLE a cura di/edited by CHIARA GATTI con la collaborazione di/with the collaboration of Luca Bochicchio, Marco Pasi, Michele Tavola Partner principali/ Main partners LUIGI PERICLE Dr. iur.
    [Show full text]
  • In Dialogue with English Modernism: Storm Jameson's Early
    IN DIALOGUE WITH ENGLISH MODERNISM: STORM JAMESON’S EARLY FORMATION AS A WRITER, 1919-1931 Deborah Frances Gerrard De Montfort University January 2010 Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy For Prue and Julia Abstract After a period during which Storm Jameson’s restricted literary identity has been that of the politically engaged woman writer, critical interest in the intellectual and stylistic complexities of her work is now reviving. Yet Jameson’s background in early English modernism and the manner in which it enriches her writing continues to pass unnoticed. This thesis uncovers new evidence of Jameson’s immersion in the early English modernisms of Alfred Orage’s Leeds Arts Club and New Age journal and of Dora Marsden’s journals, the New Freewoman and the Egoist, as an avant-garde student before the Great War. Drawing analogies with the post-colonial notions of ‘Manichean delirium’ and of ‘writing back to the centre’, this thesis argues that, subsequently – as a provincial socialist woman writer struggling to make her way at the predominantly male and elitist cultural centre – Jameson developed a vexed outsider-insider relation to English modernism which she expressed during the 1920s in a series of intertextual novels critiquing the contemporary cultural scene. It examines each of these novels chronologically, beginning with Jameson’s critique of the early modernisms of Orage, Marsden and associated writers in her first two novels, before moving on to her engagement, in turn, with the work of D. H. Lawrence, Virginia Woolf and Wyndham Lewis. Employing a socially oriented model of intertextuality, this thesis reads each novel synchronically as a sceptical and often witty probing of some of the polarised, and frequently contradictory, positions taken within the modernist debate.
    [Show full text]
  • Exhibition Guide for the Stanley & Audrey
    The Stanley & Audrey Burton Gallery Seventy Years of Fine Art at Leeds 1949 — 2019 Lessons in the Studio Studio in the Seminar Studio in the Seminar Seventy Years of Fine Art at Leeds 1949 — 2019 ISBN 978-1-900687-31-7 This exhibition – jointly presented in the Stanley & Audrey 14 Burton Gallery and the Project Space in the Fine Art Building – reviews the past 70 years of Fine Art at this University. Through 15 10-12 artworks, artefacts and multimedia, it explores a long conver- sation between making art and studying the history of art and 13 culture, in the context of the radical social and cultural changes 7 6 5 4 since 1949. 16 Fine Art at Leeds was proposed by the trio of influential British 9 8 war poet and modernist art historian Herbert Read, Bonamy Dobrée (then Professor of English at the University), and painter Valentine Dobrée. The fledgling Department of Fine Art was first 1-3 (in collection) led by painter, art historian and pioneering theorist of modern 17 art education, Maurice de Sausmarez — assisted by the The Library 23 distinguished refugee art historians Arnold Hauser and Arnold Noach. Quentin Bell, Lawrence Gowing, T. J. Clark, Adrian Rifkin, 18 Vanalyne Green and Roger Palmer followed him as Chairs of Fine Art. 19 20, 21 22 Read and the Dobrées believed that having Fine Art at the Studio in the Seminar University of Leeds could challenge what they feared was the unfair privileging of science and technology over the arts and humanities. In 2019, again, the arts and humanities are under threat at universities and art, drama and music are disappearing from our schools.
    [Show full text]
  • Südosteuropäische Hefte 4 (2015) 2
    www.ssoar.info The Eleventh Hour: Dimitrije Mitrinović and his network: proceedings of a symposium at the University of Bradford Burgham, Emma Veröffentlichungsversion / Published Version Empfohlene Zitierung / Suggested Citation: Burgham, E. (2015). The Eleventh Hour: Dimitrije Mitrinović and his network: proceedings of a symposium at the University of Bradford. Südosteuropäische Hefte, 4(2), 65-68. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-454673 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de Emma Burgham – The Eleventh Hour Emma Burgham The Eleventh Hour Dimitrije Mitrinović and his Network. Proceedings of a Symposium at the University of Bradford Scholars working on the Balkans and more broadly on European intellectual history of the first half of the twentieth century will be interested in an archive and specialised library that opens this autumn. The collection, consisting of books and papers of Dimitrije Mitrinović (1887-1953) is hosted by the University of Bradford, UK. This major new resource thus 'joins' other, more established centres for studying and researching the Balkans in the UK, which include: School of Slavonic and East European Studies, UCL; departments of Russian and Slavonic Studies at several British universities, including Glasgow, Manchester, Nottingham, and Sheffield; more recently established research centres such as Centre for the Study of the Balkans at Goldsmiths College, University of London and a unit on South East Europe at London School of Economics; and projects funded by large external grants, such as The Europeanisation of Citizenship in the Successor States of the Former Yugoslavia, at the Edinburgh University.
    [Show full text]
  • S Ü Dosteurop Ä Ische
    Hanseri S ü d o s t e u r o p ä i s c h e HEFTE • Berlin • 2015 • Jg. 4 • Nr. 2 • 2 Impressum Herausgeber: Đorđe Tomić Redaktion: Dr. Marija Vulesica, Janis Nalbadidacis, Ruža Fotiadis, Đorđe Tomić Redaktionskollegium: Krunoslav Stojaković, Roland Zschächner Online-Ausgabe: http://www.suedosteuropaeische-hefte.org/ Südosteuropäische Hefte ISSN 2194-3710 Kontakt: [email protected] Adresse: Südosteuropäische Hefte z.H. Đorđe Tomić Humboldt-Universität zu Berlin Institut für Geschichtswissenschaften Lehrstuhl für Südosteuropäische Geschichte Mohrenstraße 40/41 D-10117 Berlin Berlin 2015 Die in diesem Band veröffentlichten Beiträge stellen ausschließlich die Meinung der Autorinnen und Autoren dar. Die Zeitschrift Südosteuropäische Hefte erscheint mit freundlicher Unterstützung des Lehrstuhls für Südosteuropäische Geschichte der Humboldt-Universität zu Berlin von Prof. Dr. Hannes Grandits. Sämtliche Inhalte der Online-Zeitschrift Südosteuropäische Hefte stehen unter einer Creative Commons Namensnennung-NichtKommerziell-KeineBearbeitung 3.0 Deutschland Lizenz. Beruht auf einem Inhalt unter www.suedosteuropaeische-hefte.org. 3 Themenheft: Verbindungen zwischen Südosteuropa und Lateinamerika Mitherausgeber Janis Nalbadidacis Südosteuropäische Hefte • Berlin • 2015 • Jg. 4 • Nr. 2 • 4 5 Inhaltsverzeichnis Editorial ............................................................................................................................................ 8 Thema Andeas Guidi Patterns of Jewish mobility between Rhodes and Buenos
    [Show full text]
  • A Study of Roy Campbell As a South African Modernist Poet
    A Study of Roy Campbell as a South African modernist poet Alannah Birch Dissertation submitted in partial fulfilment of the degree of D.Litt University of the Western Cape May 2013 Supervisor: Prof. A.N. Parr Abstract Roy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
    [Show full text]