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June 12, 1987 - Image 81

Resource type:
Text
Publication:
The Detroit Jewish News, 1987-06-12

Disclaimer: Computer generated plain text may have errors. Read more about this.

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ing, and started to make
casts of her body. Once deal-
ing with the body, she began
to deal with movement. And
once dealing with movement,
she began to perform. Her
name is Nurit 7lilnai, and she
became one of the most im-
portant performing artists in
Israel."
Environmental Design
Chairman Yosef Schweid
agrees. "Taking courses in
other disciplines opens up a
student in many new ways.
He receives keys to doors he
had no way of entering be-
fore."

Some

other

schools

encourage an interdisciplin-
ary course of study, but Beza-
lel's integration of fine and
applied arts is quite unusual.
The Bezalel Academy is to-
day a thriving institution,
turning out creative profes-
sionals who are able to con-
tribute to Israel's cultural life.
But Bezalel's history is hard-
ly one of instant success. Un-
like the Bauhaus, whose foun-
der, Walter Gropius, was both

visionary and pragmatist, the
Bezalel Academy was created
in 1906 by Boris Schatz, a
nineteenth-century romantic
who was not the most real-
istic of men. Having come
from Bulgaria, where he was
Court Painter to the King,
Schatz walked the streets of
Jerusalem in a Bedouin robe,
dreaming of a new decorative
art that would ideally express
the identity of the land. This
Eretz Israel Style would, he
hoped, integrate the biblical
past with the messianic fu-
ture, by combining Eastern
European tradition, Islamic
design, Jewish symbolism,
and Jugednstil, or Art Nou-
veau, the prevailing decora-
tive style in Europe at the
time.
After speaking with Theo-
dor Herzl in 1903 and winn-
ing his approval, Boris Schatz
set up an art school in Jeru-
salem to foster his artistic
ideas. He named it Bezalel,
after the artist whom Moses
chose to build the Tabernacle.
The focus of the school was
on handcrafts — carpet weav-
ing, wood and ivory carving,
and copperwork — with a
firm rejection of all things
mechanical.
Physical and economic con-
ditions in Jerusalem just
after the turn of the century
were difficult to say the least,

and the economic situation
worsened after World War I.
Nevertheless, Schat'z sense of
historic mission took pre-
cedence over the more prac-
tical considerations of run-
ning a school, and with no
outside support for his in-
stitution, the schools' debts
grew alarmingly. The
Academy was forced to close
for lack of funds, in 1929.
Boris Schatz, who had been
nicknamed "The Rabbi of
Bezalel," spent the remaining
three years of his life wander-
ing around the United States,
trying to raise the money
needed to revive his dream.
After remaining dormant
for six years, Bezalel was re-
opened in 1935 by a group of
Jewish artists who had just
arrived from Germany. They
brought with them modern
ideas, high professional stan-
dards, and educational con-
cepts from the Bauhaus.
They acknowledged the im-
portance of geometry and
functionalism, and they no
longer feared the rejected the
machine. The founders of this
New Bezalel, as it was called, -
kept all the old teachers away
and determined that German
would be the language of the
Academy.
Finally, after World War II
and Israel's independence in

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Continued on next page

81

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