The burning light De Ambrogi, Marco
The Lancet (British edition),
02/2018, Letnik:
391, Številka:
10119
Journal Article
Recenzirano
While Chagall grew up in relative poverty in a Hasidic family and discovered art by chance, Bella came from a wealthy family of jewellers, studied literature in Moscow, and had aspirations to become ...a writer. The closely knit Jewish society of Vitebsk in which the Chagalls grew up, with its rabbis, Talmudic scholars, and musicians, remained an inexhaustible source of inspiration for Chagall's art and is gently evoked in the show with songs and music. ...contact with Cubism and Fauvism freed his art from the restrictions of traditional painting and allowed him to explore a brighter palette and imaginative subjects.
In one of his letter to his friend David Lazer, literary editor of Maariv, Marc Chagall wrote: "I'm a little confused after all, but I'm spending a good deal of time constantly thinking about the ...people who 'love' Chagall. I'm sending you my greetings and wish you good health. And to our 'poor,' great, little, and profound country of Israel, happiness. I'm working on something, and God knows what will come of it." When Chagall wrote this letter, he was working on stained-glass windows for the Hadassah Hospital in Ein Kerem, but regardless of his work's subject matter and purpose, "one way or the other," as David Lazer used to say at Chagall's place, looking at piles of work, "Vitebsk will come out of it." And it was Vitebsk, symbolizing the culturally rich world of the Jewish shtetl, that most delighted Lazer in Chagall's works. However, in the Israeli press, the Zionist Lazer underscored those events of Chagall's life that testified to the national path in the artist's work and the special ties connecting him with Israel. Indeed, the Jewish state was a special reference point in their friendship.
Sophie, Greg, and I ordered fromage, pancakes with blueberries, beer, croissants, a baguette, salad, french fries, chocolat, and more. After figure-eighting around the galleries of Centre Pompidou's ...fourth and fifth floors and resting outside on the balcony, I spotted the dome of Sacre Coeur, where I'd walked up nearly three hundred steps the previous day, before my sojourn to Little Africa. The teacher instructs the sitter to focus on an object of meditation, often the breath, and to notice when the mind wanders and label it "thinking" then return back to the breath. Standing in place, I watched as the screen in front of the museum's ticket center changed to a still image of Hammons's Oh say can you see (2017), a tattered and hole-ridden red-black-and-green-American flag.
In 1937, the Yiddish poet Avrom Sutzkever published a long poem entitled “Shtern in shney” “Stars in the Snow” in Warsaw. Over a decade later, the text was revised, refined, and republished in ...Jerusalem, where it appeared as the stand-alone book Sibir Siberia. Published first in Hebrew (1952) and then Yiddish (1953), the volumes boasted original drawings by Marc Chagall. Nearly ten years later, the work was translated into English in London, this time with the support of UNESCO and alongside a new preface by Chagall and a translator's note by Jacob Sonntag. Finally, it appeared as the opening poem of Sutzkever's collected works in 1963. The work would go on to be praised across languages as the signature text of Sutzkever's career. Yet while praise for each iteration was uniform, the texts themselves diverged in form, scope, and agenda. The following article examines the relationship between these complementary and competing iterations of Sutzkever's work—referred to here collectively as “Sibir.” Doing so reveals “Sibir” to be a reflection of the poet's strategic modes of self-fashioning and the vicissitudes of the publishing process that both permitted and denied Sutzkever interpretive control. The history of “Sibir,” I demonstrate, is the history of multiple visions and re-visions of what it means write as, publish under, and garner fame through the name “Sutzkever”—in Yiddish, Hebrew, and English.
Biblioteca in tóate starile sale Filatelistii cunóse fascinatiatimbrelorreprezentând lumi, personaje, opere de arta, care lipite pe un plie transmit mesaje multiple cätre destinatar, un fei de ...promisiuni de apropiere de zone ìndepartate sau necunoscute. De atunci, aceste plicuri fac obiectul unor colectii precum cea a francezului Michel Bohbot, colectii expuse în muzee ale Postei sau ale Timbrului din marile orase. Pornind de la vizitarea unor astfel de expozitii, de la statutul de profesor într-o scoalä de artä dar si de la relatiile amicale cu artisti si cu oameni din lumea cärtilor, am încercat printr-un experiment artistic, sä constituí o astfel de colectie, care s-a finalizat printr-o expozitie.
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