Bezalel

In Exodus 31:1-6 and chapters 36 to 39, Bezalel (Hebrew: בְּצַלְאֵל‎, also transcribed as Betzalel and most accurately as Bəṣalʼēl), was the chief artisan of the Tabernacle[1] and was in charge of building the Ark of the Covenant, assisted by Aholiab. The section in chapter 31 describes his selection as chief artisan, in the context of Moses' vision of how God wanted the tabernacle to be constructed, and chapters 36 to 39 recount the construction process undertaken by Bezalel, Aholiab and every gifted artisan and willing worker, in accordance with the vision.

Elsewhere in the Bible the name occurs only in the genealogical lists of the Book of Chronicles, but according to cuneiform inscriptions a variant form of the same, "Ẓil-Bêl," was borne by a king of Gaza who was a contemporary of Hezekiah and Manasseh.

The name "Bezalel" means "in the shadow [protection] of God." Bezalel is described in the genealogical lists as the son of Uri (Exodus 31:1), the son of Hur, of the tribe of Judah (I Chronicles 2:18, 19, 20, 50). He was said to be highly gifted as a workman, showing great skill and originality in engraving precious metals and stones and in wood-carving. He was also a master-workman, having many apprentices under him whom he instructed in the arts (Exodus 35:30-35). According to the narrative in Exodus, he was called and endowed by God to direct the construction of the tent of meeting and its sacred furniture, and also to prepare the priests' garments and the oil and incense required for the service.

He was also in charge of the holy oils, incense and priestly vestments.[2] Caleb was his great-grandfather.

The rabbinical tradition relates that when God determined to appoint Bezalel architect of the desert Tabernacle, He asked Moses whether the choice were agreeable to him, and received the reply: "Lord, if he is acceptable to Thee, surely he must be so to me!" At God's command, however, the choice was referred to the people for approval and was endorsed by them. Moses thereupon commanded Bezalel to set about making the Tabernacle, the holy Ark, and the sacred utensils. It is to be noted, however, that Moses mentioned these in somewhat inverted order, putting the Tabernacle last (compare Exodus 25:10, 26:1 et seq., with Exodus 31:1-10). Bezalel sagely suggested to him that men usually build the house first and afterward provide the furnishings; but that, inasmuch as Moses had ordered the Tabernacle to be built last, there was probably some mistake and God's command must have run differently. Compare also Philo, "Leg. Alleg."

Bezalel possessed such great wisdom that he could combine those letters of the alphabet with which heaven and earth were created; this being the meaning of the statement (Exodus 31:3): "I have filled him . . . with wisdom and knowledge," which were the implements by means of which God created the world, as stated in Proverbs 3:19, 20 (Berakhot 55a). By virtue of his profound wisdom, Bezalel succeeded in erecting a sanctuary which seemed a fit abiding-place for God, who is so exalted in time and space (Exodus R. 34:1; Numbers R. 12:3; Midrash Teh. 91). The candlestick of the sanctuary was of so complicated a nature that Moses could not comprehend it, although God twice showed him a heavenly model; but when he described it to Bezalel, the latter understood immediately, and made it at once; whereupon Moses expressed his admiration for the quick wisdom of Bezalel, saying again that he must have been "in the shadow of God" (Hebrew, "beẓel El") when the heavenly models were shown him (Numbers R. 15:10; compare Exodus R. 1. 2; Berakhot l.c.). Bezalel is said to have been only thirteen years of age when he accomplished his great work (Sanhedrin 69b); he owed his wisdom to the merits of pious parents; his grandfather being Hur and his grandmother Miriam, he was thus a grandnephew of Moses (Exodus R. 48:3, 4).

Zionism

The first international gathering of Zionists took place in Basel, Switzerland, in 1897 and was dedicated to reestablishing a Jewish presence in the Land of Israel. There was, however, sharp dissension among the early adherents of the movement. "Political Zionists" were focused exclusively on the acquisition of an internationally recognized charter; "Cultural Zionists" championed a spiritual revival focused on Jewish culture in the Land of Israel; and "Practical Zionists" emphasized the more concrete methods of attaining Zionist goals: aliyah (immigration), rural settlement, and the founding of educational institutions in Palestine.

Despite these wide ideological gaps among the Zionist factions, the initial article of the "Basel Program," the manifesto adopted at the First Zionist Congress, called for the settlement in Palestine of Jewish artisans and tradesmen. Though Schatz was greatly inspired by the position of the Cultural Zionists, in the end it was Otto Warburg, Theodor Herzl's successor and a Practical Zionist, who stated in 1905 that "craftsmanship and home industry would thrive in Eretz Israel, if a national museum and a Jewish academy would be established." The support of the Zionist movement paved the way for the bold attempt to link economic self-reliance with the creation of a national Jewish artistic identity.

* Cultural Zionism (Hebrew: צִיּוֹנוּת רוּחָנִית‎, translit. Tsiyonut ruchanit) is a strain of the concept of Zionism that values creating a Jewish state with its own secular Jewish culture and history, including language and historical roots, rather than other Zionist ideas such as political Zionism.

Bezalel Workshop, School & Museum

WORKSHOPS

Boris Schatz and Students, Sculpture Class ca. 1914

Schatz's supporters in Berlin formed a committee called the "Bezalel Society for Establishing Jewish Cottage Industries and Crafts in Palestine" whose primary goal was to oversee the creation of a network of artisan workshops. These were meant to provide employment for the impoverished Jews of Ottoman-ruled Jerusalem by producing goods for local tourists as well as for export to the Jews of the Diaspora. The first workshop to open its doors was the carpetweaving department in 1906, followed by workshops for metalwork, ceramics, woodcarving, basketry, lithography, and photography.

SCHOOL

With few students and fewer qualified teachers, the school in its early years was particularly prone to setbacks in its development. Schatz's position as the only teacher of drawing, painting, and sculpture for nearly three years ensured that his artistic preferences and taste served as the primary influence for Bezalel students. The close connection between the school and the workshops was quite evident and the emphasis on decorative arts was clearly manifested in the curriculum. A student's typical day included at least two hours of practice in one of the workshop disciplines. Hebrew was taught six hours a week, alongside classes in art history, perspective, and anatomy.

MUSEUM

Postcard
Shmuel Ben-David (1884–1927)
Published in a postcard album by Yaakov Ben-Dov, 1926
Private Collection

Schatz began collecting materials for a museum as soon as he arrived in Palestine. Opened to the public in 1912, the museum featured native flora and fauna that Schatz hoped would serve as inspiration for the students and artisans. It also included an ethnographic and archaeological division comprising locally discovered artifacts and traditional Jewish ritual objects. Finally, there was a small fine arts section for which Schatz assiduously sought out works created by Jewish artists or depicting Jewish themes. Mordechai Narkiss, a student of Schatz's, served as head of the museum from the mid 1920s until his death in 1957. Under his leadership the collection expanded to international dimensions and incorporated objects as diverse as African art and Renaissance drawings. In 1965, the collections of the Bezalel Museum became the core of the newly founded Israel Museum.

Boris Schatz

Boris (Zalman Dov Baruch) Schatz was born to a traditional Jewish family in a small village near Kovno, Lithuania, and as a young man pursued religious studies in Vilna. It was there that Schatz first engaged with the two ideals that would permanently impact his life: art and Zionism. Dividing his days between yeshiva and art school, Schatz also joined a local Zionist group. He continued his art studies in Warsaw and Paris, enjoying a moderate level of artistic success as a sculptor.

In 1895, at the invitation of the King of Bulgaria, Schatz relocated to Sofia, where he taught at the Art Academy and became enmeshed in the project to create a national Bulgarian artistic identity. Schatz left Bulgaria in 1903 after his wife abandoned him for one of his students. That same year, the Kishinev pogrom roiled the entire Jewish world and pushed many into a strong embrace of Zionist ideology. In Schatz, it rekindled a Jewish consciousness that was reflected in his artistic production, now greatly expanded by the use of Jewish themes and characters.

During the years he spent in Bulgaria, Boris Schatz was particularly impressed by the development of home industries for the production of art. He reasoned that if Bulgaria, a small agricultural nation, could maintain a school with numerous departments for the development and commercial distribution of arts and crafts, a similar model could work for Jewish pioneers in Palestine. The dream of creating a new Jewish artistic ethos in the Land of Israel led Schatz to travel to Vienna in 1904 and seek out the blessing of the founder and leader of the Zionist movement, Theodor Herzl. Following Herzl's death later that year, Schatz re-presented his idea to several leading Zionists in Berlin who assumed responsibility for the project and its funding.

Schatz arrived in Palestine in early 1906, accompanied by only two teachers and two students. He immediately embarked on the daunting tasks of recruiting students, finding an appropriate building, and creating workshops. In the coming years, the school would grow to encompass numerous instructional departments, dozens of craft workshops, and a museum, all under the rubric "Bezalel."

The Last Supper - Leonardo da Vinci

The Last Supper - Leonardo da Vinci
by Ghenadie Sontu
oil on canvas, 120 x 60 cm, 2016
Private Collection

The Last Supper measures 460 cm × 880 cm (180 in × 350 in) and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed (in 1498), but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum.[2] The painting was commissioned by Sforza to be the centerpiece of the mausoleum.[3] The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.) Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. The beginning date is not certain, as the archives of the convent for the period have been destroyed, and a document dated 1497 indicates that the painting was nearly completed at that date.[4]One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.[5][6]

A study for The Last Supper from Leonardo's notebooks showing nine apostles identified by names written above their heads

Fragment of the "The Last Supper of Leonardo da Vinci" by Ghenadie Sontu
oil on canvas, 120 x 60 cm, 2016
Private Collection

The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. The apostles are identified from a manuscript[7] (The Notebooks of Leonardo da Vinci p. 232) with their names found in the 19th century. (Before this, only Judas, Peter, John and Jesus were positively identified.) From left to right, according to the apostles' heads: Bartholomew, James, son of Alphaeus, and Andrew form a group of three; all are surprised. Judas Iscariot, Peter, and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer.[8] He is also tipping over the salt cellar. This may be related to the near-Eastern expression to "betray the salt" meaning to betray one's Master. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon. Jesus

• Apostle Thomas, James the Greater, and Philip are the next group of three. Thomas is clearly upset; the raised index finger foreshadows his incredulity of the Resurrection. James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
• Matthew, Jude Thaddeus, and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.

In common with other depictions of the Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them has his back to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus, or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it (Matthew 26: 23). The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines.

The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated.

Bezalel Academy of Arts and Design

Bezalel Academy of Arts and Design is Israel's national school of art. Established in 1906 by Jewish artist and sculptor Boris Schatz, Bezalel is Israel's oldest institution of higher education. The art created by Bezalel's students and professors in the early 1900s is considered the springboard for Israeli visual arts in the 20th century.

Bezalel is currently located at the Mount Scopus campus of Hebrew University of Jerusalem, with the exception of the Architecture department, which is housed in the historic Bezalel building in downtown Jerusalem. In 2009 it was announced that Bezalel will be relocated to a new campus in the Russian Compound, as part of a municipal plan to revive Jerusalem's downtown. The new Bezalel campus is planned by the Tokyo-based award-winning architectural firm SANAA.

The Bezalel School was founded in 1906 by Boris Schatz, who envisaged the creation of a national style of art blending classical Jewish/Middle Eastern and European traditions. The school opened in rented premises on Ethiopia Street. It moved to a complex of buildings constructed in the 1880s surrounded by a crenelated stone wall, owned by a wealthy Arab. In 1907, the property was purchased for Boris Schatz by the Jewish National Fund. Schatz lived on the campus with his wife and children.[1] Bezalel's first class consisted of 30 young art students from Europe who successfully passed the entrance exam. Eliezer Ben Yehuda was hired to teach Hebrew to the students, who hailed from various countries and had no common language.[2] His wife, Hemda Ben-Yehuda, worked as Boris Schatz's secretary.[3]

In addition to traditional sculpture and painting, the school offered workshops that produced decorative art objects in silver, leather, wood, brass, and fabric. Many of the craftsmen were members of the Yemenite Jewish community, which has a long tradition of working in precious metals, as silver- and goldsmithing had been traditional Jewish occupations in Yemen. Yemenite immigrants were also frequent subjects of Bezalel artists.

Many of the students went on to become well-known artists, among them Meir Gur Aryeh, Ze'ev Raban, Shmuel Ben David, Ya'ackov Ben-Dov, Zeev Ben-Zvi, Jacob Eisenberg, Jacob Pins, Jacob Steinhardt and Hermann Struck [4]

In 1912, Bezalel had one female student, Marousia (Miriam) Nissenholtz, who used the pseudonym Chad Gadya.[5]

Bezalel closed in 1929 in the wake of financial difficulties. After Hitler's rise to power, Bezalel's board of directors asked Joseph Budko who had fled Germany in 1933, to reopen it and serve as its director.[6] The New Bezalel School for Arts and Crafts opened in 1935, attracting many teachers and students from Germany, many of them from the Bauhaus school shut down by the Nazis.[7] Budko recruited Jakob Steinhardt and Mordecai Ardon to teach at the school, and both succeeded him as directors.[8]

In 1958, the first year that the prize was awarded to an organization, Bezalel won the Israel Prize for painting and sculpture.[9]

In 1969, Bezalel became a state-supported institution. In 1975 it was recognized by the Council for Higher Education in Israel as an institute of higher education.[10] It completed its relocation to Mount Scopus in 1990.

Bezalel developed a distinctive style of art, known as the Bezalel school, which portrayed Biblical and Zionist subjects in a style influenced by the European jugendstil (art nouveau) and traditional Persian and Syrian art. The artists blended "varied strands of surroundings, tradition and innovation," in paintings and craft objects that invokes "biblical themes, Islamic design and European traditions," in their effort to "carve out a distinctive style of Jewish art" for the new nation they intended to build in the ancient Jewish homeland.[11]

In 2006, the Bezalel Academy of Arts and Design celebrated its 100th anniversary. Today, it is located on Mount Scopus in Jerusalemand has 1,500 students. Faculties include Fine Arts, Architecture, Ceramic Design, Industrial Design, Jewelry, Photography, Visual Communication, Animation, Film, and Art History & Theory. The architecture campus is in downtown Jerusalem, in the historic Bezalel building. Bezalel offers Bachelor of Fine Arts (B.F.A.), Bachelor of Architecture (B.Arch.), Bachelor of Design (B.Des.) degrees, a Master of Fine Arts in conjunction with Hebrew University, and two different Master of Design (M.des) degrees.

The academy has plans to move back to the city center.[12]

Visual arts in Israel

Visual arts in Israel refers to plastic art created in the Land of Israel/Palestine region, from the later part of the 19th century until today, or art created by Israeli artists. Visual art in Israel encompasses a wide spectrum of techniques, styles and themes reflecting a dialogue with Jewish art throughout the ages and attempts to formulate a national identity.[1]

Early art in the Land of Israel was mainly decorative art of a religious nature (primarily Jewish or Christian), produced for religious pilgrims, but also for export and local consumption. These objects included decorated tablets, embossed soaps, rubber stamps, etc., most of which were decorated with motifs from graphic arts.[2] In the Jewish settlements artists worked at gold smithing, silver smithing, and embroidery, producing their works in small crafts workshops. A portion of these works were intended to be amulets. One of the best known of these artists, Moshe Ben Yitzhak Mizrachi of Jerusalem made Shiviti (or Shivisi, in the Ashkenazic pronunciation, meditative plaques used in some Jewish communities for contemplation over God's name) on glass and amulets on parchments, with motifs such as the Sacrifice of Isaac, the Book of Esther, and views of the Temple Mount and the Western Wall.[3] Objects of applied art were produced also at the "Torah ve-Melakhah" ("Torah and Work") school founded in 1882 by the Alliance Israélite Universelle.[4] This school opened departments for the production of art objects in Neo-Classical and Baroque styles, produced by combining manual labor with modern machines.

A large body of artistic work was produced by European artists, primarily Christian painters, who came to document the sites and landscapes of the "Holy Land". The motive behind these works was orientalist and religious and focused on documentation – first of the painting and later of the photography – of the holy sites and the way of life in the Orient, and on the presentation of exotic people.[5] Photographs of the Holy Land, which also served as the basis for paintings, focused on documenting structures and people in full daylight, due to the limitations of photography at that time.[6] Therefore an ethnographic approach is in evidence in the photographs, which present a static and stereotypical image of the figures they depict. In the photographs of the French photographer Felix Bonfils such as, for example in his prominent photographs of the Holy Land in the last decades of the 19th century, we even see an artificial desert background, in front of which his figures are posed At the end of the 19th century and the beginning of the 20th century, local photographers began to appear, the most important of whom is Khalil Raad, who focused on an ethnographic description of the reality of the Holy Land, in large part colonialistic. In addition there were other photographers, many of them Armenian, who worked as commercial photographers in the Land of Israel and neighboring countries.

In the 1920s, many Jewish painters fleeing pogroms in Europe settled in Tel Aviv.[7]

History and Provenance of Szyk Haggadah Original Artwork

All forty-eight original watercolor and gouache paintings that appeared in Arthur Szyk’s Haggadah were completed between 1934 and 1936 in Łódź, Poland. He then took them to London in 1937 to supervise the printing of The Haggadah (1940) by the Sun Engraving Company (Beaconsfield Press, publisher). Szyk brought all the paintings to the United States when he immigrated to New York in late 1940. After the artist died in 1951, the family continued to hold the paintings until their private sale in 1980 to David Brass (E. Joseph Booksellers, London) and Warren Starr (New York). In June 1982, the artwork, all forty-eight paintings in one lot, were purchased at a Sotheby’s Judaica Auction (New York) by the Forest Group, LLC (Richard and Lois Janger, Chicago). The Jangers were marvelous caretakers of The Haggadah originals until their private sale to the Robbins Family (California) in 2006. 

The first edition (1) was printed on vellum by the Sun Engraving Company, London, 1940 and published by the Beaconsfield Press in a limited edition of 250 copies. All were numbered and signed by Arthur Szyk and Cecil Roth, translator and commentator. The first appearance of a popular edition on paper (2) took place in Israel in 1956, published in Jerusalem and Tel Aviv by Massadah and Magen. Ten thousand copies were printed, and another 10,000 were printed in 1957– all with blue velvet covers, and in a blue clamshell cloth box. Subsequent editions appeared in 1960, 1962, throughout the 1960’s and 1980’s up until 2003. These editions were printed in two sizes, some with velvet covers, embroidered covers, and metal covers (3) (even some with stone insets). Some were in cloth boxes, others in paper slipcases, some in paper boxes. All editions up until this point were printed from the same reproduction plates used in the 1940 edition.

In 2008, Historicana (Burlingame, California) published an entirely new edition from the original artwork, in Deluxe and Premier Editions (4), limited to 215 and 85 sets respectively. These editions featured an entirely new translation and commentary by Rabbi Byron L. Sherwin, Chicago, and a new design. A companion volume Freedom Illuminated: Understanding The Szyk Haggadah (edited by Byron Sherwin and Irvin Ungar) accompanied the limited edition sets, as well as a documentary movie entitled “In Every Generation, Remaking The Haggadah.” ( http://szyk. com/szyk-haggadah/documentary-film. htm?mnHd=1&mnSubHd=9 ) The movie was directed by Jim Ruxin, Los Angeles.

In 2011, Abrams Books (New York) published a new popular, usable edition of The Szyk Haggadah (5), created by Irvin Ungar and featuring Rabbi Sherwin’s commentary based upon the 2008 Historicana editions. The Abrams edition added more instructions for using Szyk’s Haggadah, added contemporary rituals in the Commentary Section that have evolved in Passover ceremonies since the 1940 publication, and included transliteration of key readings and songs. It was published in both softcover and hardcover gift editions. 

Source: www.szyk.com

Israeli Art

Part of what makes the art scene in Israel so unique is that the country blends so many varying influences from all over the Jewish world.

BY MJL STAFF

Though the modern State of Israel has officially been independent only since 1948, its unique blend of dynamic arts and different cultural traditions has been around for some time longer. Part of what makes the art scene in Israel so unique is that the country blends so many varying influences from all over the Jewish world. In the case of folk arts, for example, a wide range of crafts can be found flourishing–from Yemenite-style jewelry making to the embroidery and other needle crafts of the Eastern European Jews. Over the last half-century, as artisans have mixed and mingled and learned from one another, a certain “Israeli” style of folk art has emerged, reflecting all of the cultures who make up the modern state.

In the fine arts, there has also been a desire to create an “Israeli” art. From the late 19th and early 20th centuries, when significant numbers of Jews began fleeing Europe and settling in the Land of Israel with Zionistic dreams, the fine arts have occupied a prominent place in Israeli life. Artist Boris Schatz came to Jerusalem in order to establish the Bezalel School–named for the Biblical figure chosen by God to create the first tabernacle. A university-level academy known today as the Bezalel Academy of Art and Design, the flourishing of the school typifies the country’s support of its artists.

Unlike the United States, where the virtue of public art continues to be debated, the Israeli government makes clear its support of visual artists and their contributions to society. In Israel, the role of public art helps to express and define the concerns of a common, yet diverse, culture. In a country that struggles daily to protect its inhabitants, art is considered to be a necessity, rather than a luxury. Perhaps it is the distinct Israeli-style “live for today” philosophy that makes the appreciation of art more vivid than in other, “safer” countries.

Not that Israel’s artists have always had an easy time defining themselves in relation to the rest of the art world. Early Israeli painters like Nahum Gutman tried to create a unique “Hebrew” style of art–capturing the excitement of establishing a Zionist state–while maintaining his influences from Modern European art. Other great Israeli artists such as Reuven Rubin had to leave Israel for periods of their life in order to receive the recognition that they desired; Rubin’s first major exhibit was held in the United States, thanks to his friend, the photographer Alfred Stieglitz.

Not all successful Israeli artists have portrayed Jewish or Zionist themes in their work. One of Israel’s best-known artists, for example, Yaacov Agam, is known for his unique expression of optical art. Indeed, as life in Israel became more established, the diversity of Israeli artists increased. As Israeli artists became accepted into the international art scene, their work took on the various styles and aesthetic approaches reflected in the wider art world.

Just as the politics of two Israelis can be as far apart on the spectrum as imaginable, so are the political ideologies of its artists, whose works might include everything from anti-war statements to paintings of national pride. Israeli art has matured to express the range of opinions and emotions circling in Israeli life; therefore, there is no one style, ideology or medium that defines an Israeli artist today.

But what each Israeli artist has in common is that they are fortunate to come from a culture that values the work of artists and continues to support creation of the arts as an integral part of its unique social fabric.

©  Faces Media

Fine Art Workshops by Ghenadie Sontu at Keshet Tslilim Art School

Fine Art Workshops
Keshet Tslilim Art School
Str. Tel Aviv 11, 
Tuesday 5 Pm
Thursday 5 Pm

Tel: +972 543 449 543
http://ghenadiesontu.com/

#мастеркласс #акварель #haifa #рисование #творчество #арт

Revelation

**oil/canvas, 138 x 57 cm, 2016

click on the artwork to see it larger.

[This painting is available on Canvas Print. Learn More][1]

[1]: http://Revelation oil/canvas, 138 x 57 cm, 2016 click on the artwork to see it larger. This painting is available on Canvas Print. Learn More