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Two of Anna Ticho's drawings in the Ticho House, Jerusalem.

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Artist Interpreted
Judean Hills

DVORA WAYSMAN

Special to The Jewish News

A

large signed litho-
graph depicting the
Judean Hills hangs in
my lounge in Jerusalem. In
the lower right-hand corner a
tiny, modest signature iden-
tifies it as the work of A.
Ticho. Although it is rendered
in charcoal, the light and
shade give a feeling of
boundless space.
This is one of the many
works of the late Jerusalem
artist Anna Ticho, who por-
trayed so prolifically the hills
and wadis of the Judean land-
scape and the stone terraces
and houses to which they
cling.
Her landscapes, denuded of
human figures, are a visible
history of eternal erosion and
abandonment and nearly all
her work centers on these
bare hills. Some people may
find her pictures repetitious,
but I find infinite variety in
each one. One can almost
smell the perfume of thyme
and rosemary; hear the wind
sighing in the pine trees and
through the skeletal branches
of a tree in winter.
Anna Ticho was born in
Brunn, Austria, in 1894 and
spent her childhood in Vien-
na. She had her first drawing
lesson when she was 12, and
began studying art seriously
at 15. When she was 18, she
followed her cousin and
sweetheart, Dr. Abraham
Albert Ticho, an ophthalmolo-
gist, to Jerusalem where he
had been sent by a Frankfurt-
based organization Lema'an
Zion (For the Sake of Zion), to
open an eye clinic for Jewish
and Arab citizens. They were
married in 1912 shortly after
their arrival.
Jerusalem's barren hills
had such an overpowering ef-

fect on the young girl that for
a number of years she could
not paint at all. Only while
she was in Damascus, where
her husband was stationed
during World War I, could she
begin to paint again.
The Tichos returned to
Jerusalem in 1924 and
bought a house there. The
lower story was used as an eye
clinic, where Ms. Ticho
assisted her husband. But she
was drawn by the magnetism
of the Jerusalem countryside
and would make lone forays
with her sketchbook.
As well as the townhouse,
the Tichos bought a house in
the village of Motza, in the
hills to the west of Jerusalem,
and from here she would draw
her beloved hills. She also had
the use of a friend's house in
Jericho.

Her landscapes,
denuded of human
figures, are a
visible history of
eternal erosion
and abandonment.

Ms. Ticho never felt truly
comfortable with color and
most of her work is in char-
coal. She did do some water-
colors — mostly delightful
still-life bouquets of flowers —
but when she ventured into
oils, the color was subdued
almost to the point of
monochrome.
After her husband died in
1960, Ms. Ticho continued
painting for another 20 years
— mainly in her studio due to
her own advancing years. She
experimented more with col-
or at the end of her life . . . not
the fresh, transparent water-
color of her flowerscapes, but
a narrow, subdued range of
tones produced with a few