Menachem Wecker, a freelance journalist based in Washington DC, covers art, culture, religion, and education for a variety of publications.
Art historians have almost completely ignored the many connections between the great Old Master and the Jews of Venice. Is there more to be said?
The author of “The Wreck of the Jewish Museum” joins us in the studio to expand on his ideas.
It’s one thing to hold a jazz night in order to draw people into a synagogue building. It’s quite another to show them why the synagogue exists and how it serves its purpose in existing.
From its priceless collection of artworks, a foremost cultural institution has harvested mainly inferior examples for display, while submerging Jewish identity in a sea of “universal values.”
The question has plagued artists ever since the Holocaust. At least one contemporary artist manages to pass the test.
Like Rembrandt’s, Steen’s art reflects a tremendous effort to humanize Jewish figures.
In his paintings of Jacob and his twelve sons, the 17th-century Spanish master humanizes his subjects, rendering them approachable and individual rather than remote and ethereal.