Page 33 - Jewish Book Annual Volume 13

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Several anthologies and annuals contain articles dealing with
Jewish art and artists, namely,
American Jewish Yearbook 5687
(Philadelphia, Jewish Publication Society of America, 1926):
“The Architecture of the Synagogue,” by William G. Tachau;
Jewish Book Annual 5707
(New York, Jewish Book Council of
America, 1946): “Books on Jewish Art;”
Yivo Annual of Jewish
Social Science
, vol. I I - I I I (New York, Yivo, 1947-48): “Mutual
Influences between Eastern and Western Europe in Synagogue
Architecture from the 12th to the 18th Century;”
the Day
of Delight,
edited by Abraham E. Millgram (Philadelphia, Jewish
Publication Society of America, 1944): “The Sabbath in Art,”
The Purim Anthology
, edited by Philip Goodman (Philadel-
phia, Jewish Publication Society of America, 1949): “The Esther
Story in Art.” The last four essays were written by Rachel Wisch-
Israel Argosy
, edited by I. Halevy-Levin (Jerusalem,
Youth and Hechalutz Department of the Zionist Organization,
1953) contains “Jerusalem in Art,” by F. Schiflf. Alfred Werner
wrote “Some American Jewish Artists” in
American Jewry: The
Tercentenary and After
, edited by Eugene Kohn (New York, Re-
constructionist Press, 1955) and “Painting in Israel”
an Anthology of Jewish Life and Culture in Our Times
, edited
by Harold U. Ribalow, New York, Beechhurst Press, 1955).
Well worth consulting are biographies of major Jewish artists,
the letters of Camille Pissarro, and the memoirs of Jacob Epstein
and Jo Davidson. Many references to old synagogues in Europe
and North Africa can be found in Marvin Lowenthal’s travelogue,
A World Passed By
(New York, Harper & Brothers, 1933) which
is furnished with priceless photographs. In his introduction to
Solomon N. Carvalho’s
Incidents of Travel and Adventure in the
Far West
(Philadelphia, Jewish Publication Society of America,
1954), Bertram W. Korn has given us a short biography of Car-
valho, a 19th century American portrait painter and photographer.
The dilemma of the Jewish artist in a Gentile world and the
Jew’s attitude to the fine arts have been discussed by many
Beauty and the Jew
, by Joseph Sachs (London, Edward
Goldston, 1937), contains, in addition to chapters on Samuel
Hirszenberg, Marc Chagall and Chaim Soutine, a chapter entitled
“The Jew in Modern Art.” Oddly, Sachs denies the Jew the ability
to create in the fine arts: the Jew “has no eye for natural forms
and colors; it has been truly said that he has vision rather than