In all his paintings Israels succeeded in effecting a concentration in composition which focussed all interest upon the soul, upon sensation. Israels has not been content to fix by the masterly stroke of the brush a moment of dramatic intensity surprised in his model [as for instance, in the Writer of the Law (The Thora-Writer)], or the influences of the moment upon the emotions and expressions of the subject, but the soul itself and the whole soul-state. This directness was attained by Israels through the double study of man and his destiny in direct relation to nature.
Encyclopædias give the names of his masters and types in Amsterdam and Paris. But had Israels been a mere follower of his masters, then his name would not be found in encyclopædias. For decades, for many decades, he, the versatile painter, devoted himself to historical painting. No catalogue has rescued the titles from oblivion. When questioned concerning his early works, he answered the present writer with one of his characteristic subtle smiles: “How should I know where they are?” It was not until he had attained full maturity, or according to general ideas, after he had well passed maturity, that Israels became what he now is: he found himself after the sun of his life had passed the meridian.
Max Liebermann regards himself as a disciple of Israels, but is considered by others to be superior in the brilliancy and versatility of his genius. He was practically the father of the German “Secession,” and is the greatest living painter in Germany and one of the greatest in the world. Solomon J. Solomon is one of the most celebrated English painters. Dignified and serene, he has a wonderfully extensive and many-sided grasp of his art. As to Jewish art, it is a disputable point whether Liebermann’s pictures bear indications of a pronounced Jewish character—some writers having maintained that such is the case. Israels’ “Thora-Writer,” and particularly his “Son of an Old People”—which is justly supposed to have been inspired by the new national movement—appeal undoubtedly to the Jewish consciousness by their exceptional impressiveness. The picture which established Solomon J. Solomon’s reputation was his “Samson and Delilah,” while his “Allegory” of 1904 is said to depict the triumph of Judaism as the last and only religion of the world.
In closing the review of this epoch, mention must be made of Lesser Ury of Berlin, an artist of great severity and sadness, whose “Jeremias” and other pictures display some originality singularly independent of influences from without—in which fact some critics thought they could trace some visions of Jewish awakening.
A similar change was noticeable in Eastern Europe during the period of transition which began there some decades later than in the West. Here, too, some young Jews entered the academies of art just as others went to the universities for scientific study, but, of course, with that difference in the prospects of success which distinguish art from science, that art depends more on natural gifts than on capacity to study. Some Polish, Galician and Russian Jews pursued their studies in Cracow or Petrograd, some others studied at Munich and Paris. Some deliberately emphasizing their national origin and country, others showing, through their new environment, a leaning towards a diversity of practical and theoretical motives.
Joseph Redlich (1821–81) was an engraver of world-wide fame during the first half of the century. Alexander Lesser of Warsaw (1819–91), the son of a Jewish merchant, was described as “the father of Polish historical painting.” Of no importance as a painter, the curious fact remains that this typical Polish Jew was in his time appreciated as a painter of Polish national history (the first and most important publishers of illustrated books and periodicals in Warsaw were Merzbach, Gliksberg, Lewenthal, the son of a Hebrew teacher, and Wolf, who was of Jewish origin).
Leopold Horowitz, born in Hungary in 1831, who lived many years in Warsaw, and since the expulsion of foreign Jews from Russia in Vienna, has the twofold distinction of being an eminent portrait painter of European fame, and a well-known and noble-minded Jew. His Jewish picture “The Ninth of Ab” (the anniversary of the Destruction of the Temple) is a work of grand style, exquisitely finished; his portraits, too, gained highest praise. He is much interested in Jewish matters, and was prominently associated with the foundation of the “Jewish Museum” at Vienna.
One of the greatest painters of the last generation in Russia was Isaac Levitan, born in 1860 (d. 1900), the master of Russian landscape. This Jew of the Russian Ghetto taught Russian artists to abandon mere topography for a poetical treatment of landscape scenery. He did not only paint admirably the rich purple of the northern sunset, the thin clouds, dawn and darkness, but also the very soul of the landscape. A writer in the (anti-Jewish) Novoye Vremia had to admit that “this full-blooded Jew knew as no other man, how to make us realize and love our plain and homely country-scene.” Levitan’s pictures adorn the Tretjakov Museum at Moscow, and have the right of undisturbed shelter in that city that was not unconditionally granted to their originator. Leonid Pasternak, born in 1862, is an important Russian painter, particularly known for his connections with Tolstoi.
The most wonderful romance of Jewish vitality and force of self-regeneration is the story of Mark Antokolski (1842–1900). Whatever modern critics may think of the special value of his master-works—classical or pseudo-classical—from an up-to-date point of view, the fact remains that this Lithuanian Jew, who was a son of poor parents at Vilna, brought up in the atmosphere of the Cheder (religious school) and the Vilna Schulhof, which is the most typical and best known centre of what is distinctly Jewish, is recognized, as far as sculpture is concerned, in Paris the metropolis of art. He introduced Russian sculpture into European art and his works have been highly appreciated, seeing with what intense delight and admiration they have been regarded by the highest in his native land, where he was entrusted with the task of executing the greatest national monuments, but his works have also received the highest praise throughout the world. Bernstamm Aronson and [♦]Ginzburg, distinguished by exceptional maturity in study and powers of concentration, the former an eminent master where powers of imagination and fascination were concerned, the latter of an observant, subtle intelligence, which proved so useful to him in the careful reproduction of details dealing with nature. They are devoted to the art of sculpture in Paris and in Russia.
[♦] “Guenzburg” replaced with “Ginzburg” for consistency