Jewish Art through the Ages

By Alex Howie
KOC Assistant Editor
Miami University of Ohio

As an art history major, I spend nearly all of my time studying art of other traditions and cultures, particularly Christian art and the art of Eastern religions. Jewish art doesn't seem to make the cut for art history courses. And it makes sense. Judaism has a great tradition of crafts, but not as great a tradition of fine arts. Perhaps this is because the great art of nearly every era and culture has revolved around religious art and imagery that Judaism opposes. We don't have a Jewish Buddha, a Jewish Jesus, or Jewish saints. A large percentage of the most famous art in both Eastern and Western tradition was produced for religious spaces. Since in Judaism we do not fill our holy spaces with images, we could not keep up with the great artistic traditions of the ages.

Even today, our synagogues are not as lavish as cathedrals and mosques. Our places of worship are generally very modest in comparison to those of other religions. So what is Jewish art? That could be a lengthy debate, but for me illustrated manuscripts and haggadot are the best examples.

They are both uniquely Jewish and something that has an effect on those who interact with them. They provide another dimension to our Jewish journey as we ponder over the books of Tanakh or debate the meanings of our Pesah seder. In Yehuda Leiv Hakohen's 1769 painting of Five Wise Men in B'nei B'rak that illuminates the Copenhagen Haggadah, the Rabbis are no longer boring old men discussing matters of little interest. They become engaging figures that can inspire us to search for the passion they have for our tradition. In Joseph Leipnik's Haggadah title page of 1737, we aren't greeted with boring script but given a glorified entrance into a theatrical story contained within. In Moses from Ebermannstadt's illuminated Torah from 1290, we aren't reading through a typical scroll, but invited to be captivated by the colors, designs, and motifs that stem from kabbalistic symbolism.

This is what our Jewish tradition of art consists of: documents that are directly significant to our lives by complementing the text and stories we study, tell, and perform as individuals and a community.

In the modern era, however, Jewish artists have become prominent. Moritz Daniel Oppenheim (1800-1882) has been labeled the "first Jewish artist" – which really just means the first Jewish artist to be recognized outside the Jewish world – and is my favorite Jewish painter. Unlike most post-emancipation Jewish artists, he did not forsake his Judaism or convert to Christianity to be well-received as a painter. He embraced his Jewish heritage and was still very well-received. He picked up artistic themes of his day: portraiture, religious scenes, and a naturalistic style depicting modern life. Like the religious Christian painters of the time, Oppenheim painted scenes from the Bible, such as David Playing the Harp for Saul. In depictions of modern life, however, he became distinct. He didn't paint Christ's modern relevance like John Everett Millais, but instead painted scenes such as The Rothschild Family at Prayer (View Painting). He embraced his traditional Jewish upbringing and observance with modern life. He showcased the beauty of Jewish observance and learning in addition to the wonder at the unfolding developments in our world. He painted a positive image of Jewish life – one that inspired a progressive yet observant Judaism for Jews and that helped make non-Jews more familiar with the normalcy of Judaism.

So no, we haven't given the world paintings of the Last Supper, nor have we given the world sculptures of David and Goliath for all to admire. Instead we have produced Menorahs and illuminated manuscripts that barely reach beyond our Jewish community. And only in the modern era has Jewish art been allowed to flourish. But Jewish art and artists are not without meaning and value – all Jewish art is relevant to our lives, conveys a message, and is worthy of our admiration.

[Posted 4/5/11]