A New Exhibit Displays Some of the Oldest Extant Photographs of Jerusalem

Feb. 14 2019

A recently opened exhibit at New York’s Metropolitan Museum of Art features the daguerreotypes of Joseph-Philibert Girault de Prangey, a Frenchman who spent three years traveling around the Near East using the new technology to take pictures. Among them are twelve photographs of Jerusalem. Karen Chernick writes:

Girault de Prangey began his journey in Rome and crisscrossed the Mediterranean coastline before arriving in Jerusalem on May 21, 1844—two months later than he had hoped, having originally planned to be there for Easter celebrations. When he finally reached the Old City, he captured a comprehensive tourist checklist: panoramic views of the walled ramparts, the Damascus and Lion gates, the Pool of Bethesda, the Dome of the Rock, the churches of the Holy Sepulcher and Nativity, the Moroccan Quarter, Robinson’s Arch, and the tombs in the Valley of Josaphat outside Jerusalem. . . .

Girault de Prangey wasn’t the first photographer to bring a camera and light-sensitized plates to Jerusalem; photography came to Ottoman-ruled Palestine the year it was invented, in 1839. For centuries, European artists had painted the ancient hilltop city in countless religious artworks without ever having seen it. As soon as Louis Jacques Mandé Daguerre released his eponymous new mode of image production in 1839, European photographers flooded the region to capture it and bring their records home. . . .

Frédéric Goupil-Fesquet used the new technology to create the first photographs of Jerusalem in early November 1839, just three months after the announcement of the daguerreotype. He was quickly followed by Pierre-Gustave Joly de Lotbinière, who photographed Jerusalem in February 1840.

These early photographs were used as source material for European book illustrators, but most survive now only in their translated medium as etched engravings. Only Girault de Prangey’s daguerreotypes, which he stored meticulously in custom-made wooden boxes, have survived.

Read more at Times of Israel

More about: Arts & Culture, Jerusalem, Metropolitan Museum of Art, Photography

What’s Behind Hamas’s Threat to Stall the Release of Hostages, and How Israel Should Respond

Feb. 12 2025

Hamas declared yesterday that it won’t release more hostages “until further notice.” Given the timing and wording of the announcement—several days before the release was supposed to take place, and speaking of a delay rather than a halt—Ron Ben-Yishai concludes that it is a negotiating tactic, aimed at “creating a temporary crisis to gain leverage.” Therefore, writes Ben-Yishai, “Hamas may reverse its decision by Saturday.” He adds:

Israel cannot afford to concede to Hamas’s demands beyond what is already outlined in the agreement, as doing so would invite continuous extortion throughout the negotiation process, further delaying hostage releases.

The group sees the public outrage and growing calls for action following the release of hostages in severe medical condition as an opportunity to extract more concessions. These demands include not only a rapid start to negotiations on the next phase of the deal and an end to the war but also smaller, immediate benefits, particularly improved conditions for displaced Gazans.

Beyond these tactical objectives, Hamas has another goal—one that Israelis do not always recognize: inflicting psychological pain on the Israeli public. The group benefits from, and perhaps even draws strength from, the anguish and emotional distress in Israel, as well as the testimonies of freed hostages detailing the abuse they endured. Hamas wants these stories to be heard—not only to pressure the Israeli government but also because, in the eyes of its supporters, Israel’s suffering is its ultimate victory.

Read more at Ynet

More about: Gaza War 2023, Hamas, Israeli Security