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62

Wings Of Desire

FRIDAY, JULY 6, 1990

'

Later, he studied art for five
years in Tel Aviv.
But none of his projects
matched the scope of the
painting Arie envisioned
that day he stood beside the
Kotel.
"I had always asked my-
self, 'What is the purpose of
my life?' " he says. "I knew
this (painting) was my real
mission."
Before he began work on
Under the Wing of God and
the Shadow of Amalek, Arie
felt he had to leave Israel to
see his subject objectively.
So, he left the kibbutz and
settled in 1974 in Toronto
with his wife and three chil-
dren.
Next, he began to research
Jewish history. He took
thousands of notes, spent
hours deciding which events
to include in the work, then
considered "how to put those
ideas into colors and shapes
and how to put so many
stories into one painting."
Finally, he made sketches
of what would appear on the
canvas. Instead of taking his
inspiration from modern ar-
tists, who he says often
create with no sense of har-
mony and structure, Arie
turned to Renaissance
painters.
"It's like music," he says.
"You have to have composi-
tion or it's just noise. With
architecture, you can't build
without a foundation or the
house will fall down.
"So I cut myself off from
my times and asked, 'How
would Michelangelo paint
this?' "
Choosing which moments
from Jewish history to in-
clude in the work was his
most difficult project.
"Each subject in the Bible
needs its own panoramic
work," Arie says. "The
responsibility was so high, I
had to ask myself a thousand
times if I'm right in what I
choose."
He began with Abraham,
the sacrifice of Isaac, Jacob's
dream and the Exodus from
Egypt. In vivid yellows and
violets and poppy reds, these
stories cover the first of
seven panels comprising the
painting.
The second panel focuses
on the Ten Commandments;
the third tells of the destruc-
tion of the First and Second
Temples.
The fourth panel covers an
area of history Arie himself
finds most compelling: the
Holocaust. On the right of
the panel are six large
stones for the Six Million.
Arie says each stone repre-
sents "a specific milestone"
in the life of the Jewish peo-
ple. There is a stone for

Masada and a stone for the
beginning of the Zionist
movement.
Beside the tombstones a
soldier holds the flag of
Israel. Across from the
soldier, on the third panel, is
a white-bearded man with a
Torah. Arie planned the
painting so the two would
stand parallel, showing the
Jew's physical and spiritual
struggle that "have always

Jews who see the
painting "are
crying sometimes.
Some forget where
they came from."
Dubi Arie

been together, since
Avraham to our time."
As the fourth panel moves
into the fifth, the blood-red
flowers of the Holocaust
begin to change to a bright
green as the Jewish people
find their home again in
Jerusalem.
"Many empires have tried
to defeat the Jews," Arie ex-
plains. "All of them have
disappeared, but this small
Jewish people still survives.
Even Hitler couldn't defeat
the Jewish nation; from
those ashes came the
building of the Jewish
state."
The final panel includes
the glory of Israel and a
warning — the terrible
flames of an atomic bomb
showing, Arie says, "what

will happen if we don't learn
the lessons of history."
Unlike most artists, Arie
did not have a financial
backer before he began pain-
ting; the family lived on his
wife's income and money
from small pieces Arie sold
to a Toronto businessman.
But getting rich was never
his goal.
"Some artists hope to
make a lot of money," says
Oak Park art dealer
Avraham Leaf, who hopes to
bring Arie's painting for ex-
hibit in Detroit. "But this
piece was created for a pur-
pose."
Upon completing his work,
Arie hosted what he calls
"an open house" to help
others learn the impressive
history of the Jewish people.
He invited school children,
government leaders and so-
cial activists to view the
painting. He was especially
touched by the reaction of
Jews.
"They are crying
sometimes," he says. "Some
forget where they came
from; maybe they had
changed their names. But
when they see my work, they
see they don't have to hide."
As he worked on Under the
Wing of God and the Shadow
of Amalek, Arie also found
himself more interested in
his religion. Now he says,
"It's not enough just to be a
Jew. We have to go all the
way back to our tradition.
We have to ask, 'What does
it mean to be a Jew?" " ❑

I FINE ARTS I

WEEK OF
JULY 6 -JULY 12

ART SHOWS

LINDA HAYMAN

505 N. Woodward, Suite
1000, Bloomfield Hills,
Rodney Sypitkowski,
black-and-white
photography, through
July, free, 540-0660.

ATRIUM GALLERY
113 N. Center Street,

Northville, works in all
media: Hans Haase, oil
landscapes; Bob Black,
Southwest weavings and
collages; Eugene Krolak,
sculptural sea forms;
Marilyn Blinder, mixed
media paintings; Sheryl
Cameron, ribbons of
silver and brass and
jewelry; Jaime
Rubenstein, mined
gemstones mixed with
beads and coins to create
earrings and pins; Jeff
Hale, Raku, through July.

FEIGENSON
PRESTON

796 N. Woodward,
Birmingham, "Gallery
Selections," Tom Bills,
Jane Hammond, Ted Lee
Hadfield, Paul Schwarz,
Robert Sestok, Joseph
Bernard, Daniel Simas,
Gary Mayer, John Obuck,
David Kapp, James
Chatelain, Ruth Leonard,
James Stephens and
Donald Lipski, through
July 21, free, 644-3955.

HABATAT
GALLERIES

32255 Northwestern
Highway, Farmington
Hills, Jose Chardiet and
Bohumil Elias, through
August, free, 851-9090.

DIA

Detroit Institute of Arts,
"Helen Frankenthaler: A
Paintings Retrospective,"
through Sept. 2,