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128 September 13 • 2007
project since it's well known that bibli-
cal injunctions long forbid Jews from
creating graven images of any sort.
A history of modern secular Jewish
contributions to the arts — painting,
sculpture, architecture — would be
easy to pull off since the advent of
modernity saw a great surge of such
Jewish-inspired expression.
But Voolen begins much farther
back, with descriptions of the Second
Temple, and of Torah scrolls and their
calligraphy, and what these objects say
about the Jews.
The author's introductory chapter,
titled "Jewish Art and Jewish People
Between Israel and Diaspora:' begins
with a brief, general overview of
Judaism's basic tenets, then looks at
each of the major periods in history,
considering liturgical books, Jewish
ceremonial objects, the role of the
synagogue and the holidays in Jewish
life, and continues on through the
crucible of modernity, ending with
a discussion of the construction of
museums and memorials in the wake
of the Holocaust.
An extensive timeline follows,
providing another angle on Jewish
history.
But the real body of the book is
Voolen's chronological discussion
of individual works that summon
up decisive moments in Jewish his-
tory, from wall paintings found in a
synagogue dating from 244-45 C.E.
through to some of the most contro-
versial pieces of art created by Jews in
the new millennium.
The high points — and there
are many — include Jozef Israels'
1889 despairing painting Son of the
Ancient People; Camille Pissarro's
La Place du Theatre Francais, dating
from the year before; Israeli artist
Dani Karavan's installation, titled
Passages, Homage to Walter Benjamin,
which marks the spot where the
German Jewish writer and critic
committed suicide while fleeing the
Nazis; and drawings from Life? Or
Theatre?, an illustrated "autobiog-
raphy" by Charlotte Salomon, yet
another extraordinarily gifted artist
murdered in the Shoah, whose work
did not surface until the 1980s.
The sections on Holocaust muse-
urns and memorials are particularly
solid, as is the survey of modern art.
The reproductions, whether in black-
and-white or color, are of the highest
order.
I know of few art books that cover
so many bases and that with such
ease tell the story of an entire people
— other than textbooks, of course,
which are hardly ever as entertaining
and stimulating as My Grandparents,
My Parents and I. I I