Marc Chagall’s Jewish Reality and His Jewish Imagination

Dec. 20 2018

From 1918 through 1922, three great avant-garde Russian artists—Marc Chagall, El Lissitzky, and Kazimir Malevich—worked together at a Soviet art academy in the city of Vitebsk. Two of them, Chagall and Lissitzky, were Jews; both had spent their childhoods in Vitebsk. Reviewing a current exhibit at the Jewish Museum in New York City of the works of all three, Shifra Sharlin explains how Chagall was influenced by an emerging, distinctively Jewish style of art, and how he broke with it:

Both Chagall and Lissitzky studied at Yehudah Pen’s art school [in Vitebsk], which opened in 1897, . . . where Yiddish was the language of instruction and no classes met on the Sabbath. Both participated in the ethnographic expedition, organized by [the ethnographer, revolutionary, and playwright] S. An-Sky, to record and collect remarkable examples of Jewish folk art in the Pale. . . . Both got as far away from Vitebsk as soon as they could. Lissitzky was nineteen when he arrived in Darmstadt to study. At twenty-three, Chagall moved to Paris.

Chagall’s early work, before he went to Paris, shows the distinct influence of Pen and An-Sky in his choice of subject matter. Pen encouraged his students to paint scenes from everyday Vitebsk life. [The poet Abram Efros] praised him for his eclecticism, for the way that he combined Jewish “tradition” and modernism.

[Eventually Chagall] left much of that behind. . . . In Chagall’s [later and better-known] paintings, the documentary specificity of Pen’s paintings, and of his own early work, is absent. Viewers could learn little from them about the actual Vitebsk. They could be misled into thinking that it was a shtetl and not a small city with a population of 100,000. . . . Chagall’s paintings neither preserve the details of which Yiddish newspapers Jewish artisans read, as Pen did, nor do they make use of the folk-art elements, as his own and Lissitzky’s earlier work do. And yet, . . . Chagall captured something that has come to be identified with the Jewish spirit.

Read more at Tablet

More about: Arts & Culture, Jewish art, Marc Chagall, S. An-sky, Soviet Union

The Meaning of Hizballah’s Exploding Pagers

Sept. 18 2024

Yesterday, the beepers used by hundreds of Hizballah operatives were detonated. Noah Rothman puts this ingenious attack in the context of the overall war between Israel and the Iran-backed terrorist group:

[W]hile the disabling of an untold number of Hizballah operatives is remarkable, it’s also ominous. This week, the Israeli defense minister Yoav Gallant told reporters that the hour is nearing when Israeli forces will have to confront Iran’s cat’s-paw in southern Lebanon directly, in order to return the tens of thousands of Israelis who fled their homes along Lebanon’s border under fire and have not yet been able to return. Today’s operation may be a prelude to the next phase of Israel’s defensive war, a dangerous one in which the IDF will face off against an enemy with tens of thousands of fighters and over 150,000 rockets and missiles trained on Israeli cities.

Seth Frantzman, meanwhile, focuses on the specific damage the pager bombings have likely done to Hizballah:

This will put the men in hospital for a period of time. Some of them can go back to serving Hizballah, but they will not have access to one of their hands. These will most likely be their dominant hand, meaning the hand they’d also use to hold the trigger of a rifle or push the button to launch a missile.

Hizballah has already lost around 450 fighters in its eleven-month confrontation with Israel. This is a significant loss for the group. While Hizballah can replace losses, it doesn’t have an endlessly deep [supply of recruits]. This is not only because it has to invest in training and security ahead of recruitment, but also because it draws its recruits from a narrow spectrum of Lebanese society.

The overall challenge for Hizballah is not just replacing wounded and dead fighters. The group will be challenged to . . . roll out some other way to communicate with its men. The use of pagers may seem archaic, but Hizballah apparently chose to use this system because it assumed the network could not be penetrated. . . . It will also now be concerned about the penetration of its operational security. When groups like Hizballah are in chaos, they are more vulnerable to making mistakes.

Read more at Jerusalem Post

More about: Hizballah, Israeli Security