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Simeon Solomon, the youngest
child and most successful artist in the
family, drew his early subject matter
from Jewish tradition. Carrying the
Scrolls of the Law pictures a young
rabbi lovingly holding the Torah,
reflecting the artist's deep reverence for
the Hebrew Bible.
But Simeon met with a cruel fate. A
self-portrait, entitled Head, painted in
1892, 13 years before his death,
reveals his inner turmoil as a homosex-
ual whose association with the Pre-
Raphaelites played a strong and
destructive role in his life.
After a devastating arrest for inde-
cency in 1873 and a subsequent pub-
lic trial, family and friends ostracized
him. Though he continued painting,
his early success was cut short, and he
died a destitute alcoholic in a London
workhouse.
Before the 19th century, few Jews
commissioned portraits or painted
self-portraits. Two factors explain this
lack of portraiture by Jewish artists:
the Second Commandment's prohibi-
tion against graven images and the
Jewish community's limited accultura-
tion to this form of expression.
All this changed with emancipatiOn.
A section devoted to self-portraits
includes that of Dutch painter Jacob
Meyer de Haan, a bohemian Jewish
artist who abandoned the bourgeois
life and family business (a bread and
matzah factory in Amsterdam) to pur-
sue his art.
In his self-portrait, painted in the
south of France, he depicts himself as
an avant-garde artist and Bohemian
Jew, sporting a colorful bandanna and
Breton cap, which resembles a yarmul-
ke. De Haan linked up with Gauguin,
who later painted an unflattering and
blatantly anti-Semitic portrait of him.
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The works in the final section of the
Jewish Museum exhibit show the
process of acculturation has come full
circle.
The identity of the artist in this sec-
tion is no longer defined in relation to
the Jewish community, as seen in the
first gallery, explains Goodman. Now
artists are creating new forms of cul-
tural identity based on the world
around them, including landscape,
cityscapes, "society" portraits and
genre paintings with few or no Jewish
references at all.
The greatest break from Jewish artis-
dc tradition at the time of emancipa-
tion came with the depiction of the
nude, which prior to the 19th century
was taboo. Lesser Ury's Reclining Nude
suggests modesty and sensuality in the
voluptuous female model whose hands
obscure her face.
View of Volognano by Italian artist
Vito d'Ancona is not only a lush land-
scape of his uncle's imposing estate
outside Florence but also a reflection
of the end to restrictions forbidding
Jews to own property.
Industrialization and the growth of
the modern city created a whole new
genre of paintings, called urbanScapes.
Camille Pissarro's Avenue de l'Opera,
Place du Theatre Francais: Misty
Weather is an impressionistic work
which only hints at the individual fig-
ures on the densely populated street.
Pissarro, an acculturated French Jew,
did not paint scenes from Jewish life,
and is rarely thought of as a Jewish
artist. But a late self-portrait, in which
Pissarro resembles a biblical prophet
with a long white beard, may reflect
his ties to early Jewish history.
German painter Max Liebermann
came from a wealthy Berlin business
family which objected to his desire to
become an artist.
Like other Jewish artists, he broad-
ened his subject matter through travel.
In a colorful 1908 painting entitled
Jewish Street in Amsterdam,
Liebermann blends impressionism and
realism. The market scene, which
shows a horde of people hovering
around a cart heaped with vegetables,
conveys a sense of crowd rather than
individuals.
As the family portraitist of the
House of Rothschilds, Moritz Daniel
Oppenheim presented himself and his
subjects as established members of
middle-class society. His two elegant
paintings of cousins Charlotte von
Rothschild and Lionel Nathan de
Rothschild on the occasion of their
marriage reflect the power and posi-
tion of the family.
There hasn't been an exhibition of
this nature since the beginning of the
20th century anywhere, says
Goodman. "It's a new look at artists
who have been neglected, and time
they were considered seriously in the
body of 19th century art history." ❑
The Emergence of Jewish Artists
in the 19th Century runs
through March 17 at the Jewish
Museum, 1109 Fifth Avenue,
New York City. For informa-
tion, call (212) 423-3200, or
visit the museum's Web site at
www.thejewishmuseum.org