LXXX.
Zionism and Jewish Art
It is somewhat difficult to distinguish between Jewish art, that is to say between art expressing the Jewish national spirit, and ordinary art cultivated by the Jews.
Is Jewish art possible to-day? National art requires a soil out of which to issue, and a sky towards which to unfold. We—present-day Jews—have neither. We are inhabitants of many countries, and our thoughts ascend to different skies. Within our innermost soul we know of no earth and no sky. We have no country to bear our hopes in its lap and lend firmness to the tread of our feet, and we have no national sun to bless our sowings and irradiate our day. National art requires a homogeneous community out of which it arises and for which it exists. We have merely fragments of a community, and as yet there is hardly any stirring of the part to assemble into a whole. But without these premisses national art cannot come into existence; it cannot be made. It is no hothouse growth, but healthy, sapful plant life in a free native atmosphere. No artificial conditions may be created for it, it must come and develop with the progressing renascence.[¹]
[¹] Martin Buber, Jüd. Künst., Lesser Ury.
Another question presents itself. Are, at present, Jewish artists possible, i.e. artists who respond inwardly and in their works to Jewish individuality? If we may answer this question in the affirmative, the inner possibility of Jewish art is affirmed too. Because, as a rule, two elements have to co-operate so that a national artist may be evolved: a strain of national heredity, and a national environment; the former consecutive, not acquired by experience, but brought in unconsciously, the latter rather atmospheric, and up to a certain point consciously experienced. Since, in the most favourable conditions, present-day Judaism contains only the material and the elements of transformation of national environment, a Jewish artist would have to derive his national individuality chiefly from qualities received through heredity. But this would tend to prove that the artistic aptitude of the Jewish race is still aglow like live coal under ashes, and that it only needs personalities gifted with creative energy, and in whom this aptitude concentrates, condenses and transmutes into works, to bring forth Jewish artists. Are Jewish artists possible nowadays? By way of reply it may suffice to show that there are Jewish artists, or rather that with many Jewish artists we have the impression that their art has a national character.
It is very doubtful indeed whether any clear definition can be given of Jewish national art equally acceptable from the standpoint of the nationalist and that of the artist. We shall, therefore, confine ourselves to a brief outline of the evolution of Jewish artistic activity in painting and sculpture in modern times, without entering into the old and much-discussed question of ancient Palestinian Jewish painting, sculpture, architecture, etc., medieval Jewish miniature-painting of a religious or semi-religious character and more or less Jewish origin, and the arts of poetry and music cultivated by Jews since remotest antiquity and bearing undoubtedly in some cases the national character.
The sphere of art, particularly painting and sculpture, became accessible to the Jews at the same time as the realm of modern science and European culture and education, at the beginning of the nineteenth century. The fugitives from the Ghetto began to devote themselves to the study of art with more or less zeal, according to the opportunities afforded and conditions prevailing in the countries in which they lived—in Western Europe at an earlier period and in Eastern Europe somewhat later. Having received their training in different countries, they were naturally influenced by various schools of art. Some attained great distinction and merit, deserving to be placed in the foremost rank of European art, but these repudiated their Judaism, e.g. Munkácsy; others gained locally a high reputation; the majority of them, however, did not rise above mere mediocrity.
Benjamin Ulmann, an Alsatian, born in Strasburg, 1829, was a historical and portrait painter of some merit; Jean Jules Worms, born in Paris, 1832, painted genre-pictures with a good deal of animation; Leopold Pollack, born in Lodenitz, Bohemia, 1809, was a genre-painter of much refinement. He was an artist possessed of various accomplishments, who gained distinction in artistic circles as a “Slav”; Felix Schlesinger, born in Frankfurt O/M., 1814, and educated at Paris, became a famous French painter and was much appreciated as a genre-painter; Emil Lévy, born in Paris, 1826, deserves mention as a painter of idyllic scenery that showed considerable skill combined with simplicity; Louis Neustaeter, born in Munich, 1829 (d. 1899), achieved a reputation as a portrait painter; Felix Possart, born in Munich, 1837, was a most versatile popular painter; Nathanael Sichel, born in Mainz, 1843, was a historical painter of great talent; Eugene Benjamin Fischel, born in Paris, 1821 (d. 1895), was a historical painter (“The Arrival at the Inn” at the Luxembourg Museum since 1863), and devoted himself later on to painting of miniatures; Eduard Bendemann, born in Berlin, 1811 (d. 1889) was a painter of good taste and highly artistic accomplishments: he painted for the most part historical pictures, some of which are hung in German museums; Carl Jacoby, born in Berlin, 1853, distinguished himself among German painters of his time for his remarkable correctness in drawing; Friedrich Friedlaender, born in Vienna, 1825 (d. 1895), displayed the peculiar style of “Viennois” painting of his time; Toby Rosenthal, born in New Haven, U.S.A., 1848, was a disciple of Pilloty, and endeavoured to emulate his master; Herman Junker, Frankfurt (b. 1838); Karl Blosz, Munich; Edmund Edel, Charlottenburg; Julius Ester, Munich; August Gross, Vienna; Tullo Massarini, Rome; Albert Raudnitz, Munich; Ernest Raudnitz, Paris; Emanuel Spitzer, Munich; Ernst Nelson, Berlin, and others are known more or less as painters of various subjects.
The most notable of Jewish sculptors of the earliest period were: Antoine Samuel Adam Salomon, born in La Grete, France, 1818; Max Klein, born in Hungary, 1847; Josef Rona of Budapest; Adolf Huszar of Budapest, among whose important works should be mentioned the famous monument of the Hungarian national poet, Petöfi; Johann Silbernagel of Vienna, famous for his charming little statuettes; Charles Samuel, born in Brussels, 1862, who executed the monument of the great Belgian statesman, Frère d’Orban; Moses Jacob Ezekiel, born in Richmond, Virginia, U.S.A., 1844, who established a great reputation in America and in Italy, and others.