Silence. There is an overwhelming silence that dominates the Isidor Kaufmann masterpiece, Rabbi with Young Student (catalogue #93) offered for sale at the Sotheby’s December 19th auction. Kaufmann’s most engaging paintings for me are the deeply psychological portraits, usually of Hasidic men, young women and youths.
In the eyes of the ram lies the artist’s commentary on the Rosh HaShanah piyyut; “The King Girded with Strength.” From the Tripartite Mahzor (German 14th century), this illumination simultaneously echoes the piyyut’s praise of God’s awesome power and expresses the terror of actually being a sacrifice to God. The ram is but a reflection of Isaac. It is all in the eyes.
Photographs seems like cruel little slices from the past, frozen images of what will never be again. Since we assume that the photographic image is, by and large, a factual view of some reality, it is inherently believed and trusted. But now be forewarned. It ain’t necessarily so. Bill Aron’s new images at the 92nd Street Y betray and beguile so as to force us to reassess the meaning of what we see.
The Rylands Haggadah, created in Catalonia Spain sometime around 1330, is a towering masterpiece of Jewish Art. In addition to pages of piyutim surrounded by ornate decorative and figurative micrography, richly decorated Haggadah text and blessings, there is a 13 page miniature cycle depicting the Exodus story from Moses at the Burning Bush to the Crossing of the Red Sea.
The Museum of Biblical Art in New York has mounted a remarkable exhibition with Bartolo di Fredi’s 14th century masterpiece, “Adoration of the Magi.” This small but powerful exhibition, but one of many in the 7 year history of MOBIA, is an exploration of exactly how a “painter of faith” narrates adoration. MOBIA is the only scholarly museum celebrating art and the Bible in the United States and, while has major support from the American Bible Society, is fully independent of any denomination or religion.