Arthur Szyk Used His Art to Defend the Jews, Attack Nazism, and Much Else

Jan. 24 2018

The exhibition Arthur Szyk: Soldier in Art has just concluded at the New-York Historical Society; its title refers to the Polish-Jewish artist’s dedication to using his talents for political purposes. In these works, Szyk (1894-1951) protested fascism and Nazism, proclaimed his support for Zionism, and commemorated Jewish suffering in the Holocaust. Diane Cole writes in her review:

Arthur Szyk may well be the only great Jewish artist whose work countless people recognize simply because they have attended a Passover seder. First published in 1940 and still a Passover favorite, Szyk’s The Haggadah, with its striking mix of modern and ancient imagery, has imprinted itself on our communal holiday memory of the retelling of the exodus from Egypt.

Less well known are the explicit connections between the Egyptian pharaoh and Hitler that Szyk had embedded in his original version of the Haggadah he created in the 1930s. It also featured swastika-bearing Egyptian taskmasters and a sinuous serpent with a row of swastikas on his back. Szyk painted them over to ensure publication, but there’s no mistaking the anti-Nazi message that remained in his sarcastic depiction of the “wicked” son as an assimilated German Jew proudly sporting Bavarian-style riding gear and a Hitler-like mustache.

Nor was his Haggadah Szyk’s only political salvo before, during, or after World War II. As a self-described “soldier in art,” he wielded brush and palette as a weapon throughout the 1930s and 1940s to attack fascism, plead for the rescue of European Jewry, and argue the case for an independent Jewish state. His illustrations and drawings were animated and passionate, seen in biting political cartoons in newspapers around the country, on the covers for such mass-market magazines as Time and Collier’s, and on numerous posters, programs, and other printed materials.

Szyk’s activist art represents only one aspect of his highly successful career—his vibrant illustrations of the fairy tales of Hans Christian Andersen, Chaucer’s Canterbury Tales, and other literary classics embody another—but it is the most dramatic.

 

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More about: Arthur Szyk, Arts & Culture, Haggadah, Holocaust, Jewish art, World War II

Nikki Haley Succeeded at the UN Because She Saw It for What It Is

Oct. 15 2018

Last week, Nikki Haley announced that she will be stepping down as the U.S. ambassador to the United Nations at the end of the year. When President Trump appointed her to the position, she had behind her a successful tenure as governor of South Carolina, but no prior experience in foreign policy. This, writes Seth Lispky, turned out to have been her greatest asset:

What a contrast [Haley provided] to the string of ambassadors who fell on their faces in the swamp of Turtle Bay. That’s particularly true of the two envoys under President Barack Obama. [The] “experienced” hands who came before her proceeded to fail. Their key misconception was the notion that the United Nations is part of the solution to the world’s thorniest problems. Its charter was a vast treaty designed by diplomats to achieve “peace,” “security,” and “harmony.”

What hogwash.

Haley, by contrast, may have come in without experience—but that meant she also lacked for illusions. What a difference when someone knows that they’re in a viper pit—that the UN is itself the problem. And has the gumption to say so.

This became apparent the instant Haley opened her first press conference, [in which she said of the UN’s obsessive fixation on condemning the Jewish state]: “I am here to say the United States will not turn a blind eye to this anymore. I am here to underscore the ironclad support of the United States for Israel. . . . I am here to emphasize that the United States is determined to stand up to the UN’s anti-Israel bias.”

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More about: Nikki Haley, U.S. Foreign policy, United Nations, US-Israel relations