Hirschenberg’s “Wandering Jew,” Pilichowski’s “Wearied” and Glitzenstein’s “Messiah,” though undoubtedly independent individual works, have yet to a certain extent been influenced by the new national spirit set aglow by Gottlieb and Lilien, and by the literature of the Jewish Revival.
To this category of Jewish artists belongs Hermann Struck, who combines artistic refinement with orthodox Jewish devotion and Zionist aspirations, a master of the first water, who has executed etchings of Israels’ works and those of other great artists, and has a fine record for original portrait painting, Palestinian landscapes, and other drawings of exceptional skill; Moses Maimon, a distinguished Russian-Jewish painter, the author of the very popular “Marranos in Spain,” and of other pictures of value; Jehuda Epstein, who has given proof of possessing great power of imagination by his great sketch “Maccabean,” a picture made for Herzl, who had it in his studio; Minkowski (Warsaw), whose Pogrom pictures are of really artistic value; Pffeffermann (Pan), a man of considerable artistic achievement, who has been engaged on the teaching staff of the Bezalel; Weinles and Altmann (Poland), who are responsible for various pictures and studies of Jewish subjects; Wachtel (Galicia), who emulated Lilien; and Hochmann (Cracow), who was guided by Glitzenstein’s works. In Russia there are the painters: A. A. Maneritsch, M. L. Schafrom, A. B. Lachowski, and the sculptors: F. Bloch, M. L. Dillon, J. A. Troupianski, of the younger generation, and—of the older generation—Gabowitsch, J. J. Brodski, who represent modern Jewish art. In the important colony of artists and art students in Paris, including Leo Minsenberg, Leopold Gottlieb, Cylkow, Markus, Kramstück, Elie Nadelman and others of Warsaw, a real Jewish awakening has been observed, particularly among the younger members of the colony.
Special mention should be made of the well-known landscape painter Abraham Neumann of Sierpce, Poland, who has a fine long record of artistic work. He participated most actively in stimulating Jewish artistic activity in Poland and Galicia.
With regard to sculpture, Alfred Nossig has also to be mentioned. Nossig can boast, among his various accomplishments, also that of an able sculptor con amore. In some of his works he has dealt impressively with national Jewish subjects.
Another Jewish sculptor of note should be mentioned, viz. F. Beer of Paris (died in 1910). He was an ardent Zionist and a great personal friend of Herzl, and contributed his share to Zionist artistic work (the badges of the Congress).
In this country, Will Rothenstein has become very popular through several of his pictures devoted to scenes of Jewish life; Isaac Snowman and his brother Louis [Conrad] are artists of recognized accomplishments, and have painted valuable pictures of this kind. Wolmark is well known as an artist of exquisite taste and idealistic aspirations. His inclination has led him to the rendering of subjects dealing with Jewish life, so admirably dealt with in some of the pictures. He is a strong individualist and truth-seeker, and has in recent times manifested a decided inclination for futurism, of which he is one of the champions. Jacob Epstein is the most representative of sculptors and combines genius with technical skill.
The foregoing survey of Jewish activity forces us to the following conclusions:—
I. The numerous Jewish works of art, especially in painting and sculpture of such marked ability, with no previous history, patronage or encouragement, and produced under most unfavourable circumstances in a comparatively short time, showed that Jewish genius was as much capable of development in the sphere of art as in music, poetry or the drama, and has made its influence felt at every opportunity.
II. The great artistic value—with few exceptions—of the works of these masters who either were acquainted with the older Jewish traditions, like Israels, H. P. Levy, Ezekiel, or who had come direct from the Ghetto, like Antokolski, compared with the Assimilationist Jews who were either satellites or plagiarists, proves that, even during the period previous to the present national Revival, Jewish consciousness (like any other deep racial consciousness) has stimulated the vigour and originality of artistic activity.
III. The beneficial effects of the National movement in Jewish artistic craftsmanship can be observed in two directions:—