All these artists proved that Jews can be artists. Jewish art in Jewish subjects was here and there to be observed. Isidore Kaufmann, a Hungarian Jew, born in 1853, executed some appreciable work in genre-painting of Polish-Jewish life. He displayed in his “Visit of the Rabbi,” “Talmud Students” and other little pictures, a great simplicity and freshness, and a delightful sense of humour, but these pictures, humorous as they are, have merely anecdotes for the outlines of their scheme. A real awakening of Jewish art in a higher sense was left to the present period of the Jewish National Revival and Zionism.
This new period was inaugurated by two Polish-Galician Jewish artists, who, while their respective artistic achievements were of different value, were instrumental in opening new perspectives for Jewish art; these were Moritz Gottlieb and Ephraim Moses Ha’Cohen Lilien.
Moritz Gottlieb, born in a small village in Galicia, about 1860, was a disciple of the great Polish national painter Jan Matejko. Of great imaginative power and intense feeling, a real artist, he succeeded in mastering the intricacies of modern painting. He soon became a favourite of his tutor, and was much admired in artistic circles at Cracow, where his works were immensely appreciated on account of the suave and well-balanced style of his pictures. His prospects of a great future increased with his popularity. It is said—se non é vero é ben trovato—that when he expressed his intention of devoting himself to Polish historical painting, Matejko remarked: “My son, you are a Jew; you cannot weep on the graves of Polish kings; leave it to others.” So Gottlieb devoted himself to Jewish subjects, the most important of which was his admirable “Jew Praying in the Synagogue.” This masterpiece so full of inspiration was more than a picture; it was a message to Jewish artists, one of the most simple and impressive: “You shall go back to your own people; you shall find and see your own greatness and glory; you shall be your own selves again!”
The hand of death removed him in early manhood—at the end of the eighties of the last century—Moritz Gottlieb’s name was cherished by the new generation of Jewish artists as that of a noble pioneer who had ushered in the era of Jewish art.
About ten years later, Lilien, having terminated his studies at Munich, settled in Berlin, and got in touch with the young Zionist intellectual movement. By means of his illustrations in black and white, which combined modernism with archaic forms, permeated by the Hebrew spirit, he soon succeeded in introducing a new element in artistic skill, and played a prominent part in shaping the modern tendencies of a somewhat independent young Jewish art. As to the artistic value and originality of his remarkable and exceedingly fruitful art, opinions may differ considerably, yet there is no doubt, as a master of an unique style of drawing, touch, finish and execution, and as a pioneer and advocate of methods expressing Jewish aspirations, types and ideas, he is unrivalled, and his works have had a far-reaching effect in encouraging Jewish artists to devote themselves to the extension of Jewish art on a self-dependent and self-inspiring basis. The message of Gottlieb and the impulses of Lilien can be easily traced, even among the important Jewish artists who have been their contemporaries or have lived at a later period and have occupied honoured positions in general as well as in Jewish art.
Samuel Hirschenberg, Leopold Pilichowski and Henry Glitzenstein form, with all the distinction of their individualistic and high artistic qualifications, a sort of triumvirate in the realm of art. All these came from the same country—Poland—and from the same district of that country; they were contemporaries in age as well as in their outlook on life, seeing that all these represent the new, emancipated intellectual type of the Polish Jew with a touch of Jewish nationalism of the eighties, who differ so distinctly from the old type of the “assimilation” Jews of a previous period.
Samuel Hirschenberg excelled in the painting of a variety of subjects. His distinctness and fine blending of colours, his skill in creating broad and accurate outlines of figures are indeed remarkable. He was a modest, earnest and most industrious worker of really artistic aspirations. He had a strong predisposition for big canvases and was averse from anecdotal subjects. He was unable to paint anything of a small type. The Jewish people, its suffering, and his persecuted brethren formed the subjects of his brush. “Golus” (copies of which are well known) is a specimen of his art and outlook. Of keen perception, the life-blood of Jewry pulsing through his veins, he painted his “Wandering Jew,” presenting with tragic force the synthesis and the resentment caused by Jewish Martyrdom.
He was one of those who had penetrated most deeply and powerfully the tragedy of the Golus, with all its great and desperate dreadfulness and all its abysmal horror, who felt it within their innermost marrow and blood, who went through life with its sad brand on their brows. The brush with which he painted was the master’s heart, and the colour—his blood, the warm life-blood. The blood which has been flowing for thousands of years from the ever-open wound of the creative genius and of the nation. He dreamt to base the future upon sacred ruins. He deemed as nothing the laurels of the Golus as compared with the feeble light which began to glow more and more vividly far away in the old country and in his bosom, which overflowed with sadness and longing. He was a priest of art and a priest of the Jewish renaissance. During the last years of his life he went to Jerusalem to take part in the art work of Bezalel, and died there—as he had lived—upright and resigned to his fate, hiding from the world the sufferings of a noble soul.
Leopold Pilichowski is quite different in artistic temperament. Cheerful, thorough and pleasant, guided by a truly artistic instinct, he possesses the natural gifts of an eminent artist, being a keen observer of life, of charming personality, and an enthusiastic worker. He achieved a high reputation by reason of his admirable blending of colours, his excellent and attractive style, the life-like expression of his portraits and the careful attention bestowed upon details. In France he attained high distinction, and recently also in this country where his works have found considerable appreciation. But the favourite subject of his art is Polish Jews. His picture entitled “Wearied,” the two figures of old wearied Polish Jewish pilgrims—is in conception and execution a masterpiece; this picture has been so frequently reproduced that it is now one of the most popular and most impressive Jewish pictures of the time. He expresses more forcibly than any other contemporary painter the intense fervour of Jewish prayer. He endeavours to penetrate the secrets of Polish-Jewish pathos in his charming picture “The Feast of our Rejoicing” and in another, entitled “Sorrow” which, probably, no other painter would have been able to understand. He describes and creates an historical record for the type of the Polish Jew as he knew him—in the fervour of his prayers, in the glory of his devotion, in the attractiveness of his misery.
Henry Glitzenstein, who now lives in Rome, is the son of a Melamed (religious teacher) in the little village of Turek, Poland. In Italy and throughout Europe, where his works have at several exhibitions gained highest distinction, he is recognized as being one of the greatest sculptors of the age. In ability, taste, gracefulness, originality and invention, he is a sculptor-poet, who excels all Jewish sculptors that ever lived, and even many non-Jewish artists of standing. It is not presumptuous to assert that Glitzenstein is one of the most modern sculptors, whose modernism does not merely amount to the acceptance of a certain “fad” but means original and constructive ability. He, too, is a dreamer of the Ghetto, but at the same time a master of a living art. His “Messiah,” the incarnation of the mighty, asleep yet about to awaken to any movement towards the Jewish future, is a work of an enormous conception.