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This is done both through the text and the illustrations that accompany the text. [25] Throughout the book, the author made a clear distinction between Germans and Jews. On the front cover, there is a picture of a fox and a picture of a man depicted as a Jew—he has a big nose, big ears and a chubby hand with a Star of David next to him.
The lunette spatial region in the upper portion of steles, became common for steles as a prelude to a stele's topic. [ clarification needed ] Its major use was from ancient Egypt in all the various categories of steles: funerary, Victory steles, autobiographical, temple, votive, etc.
Mural in a lunette in the Thomas Jefferson Building of the Library of Congress, Washington, D.C. A lunette (French lunette, 'little moon') is a crescent- or half-moon–shaped or semi-circular architectural space or feature, variously filled with sculpture, painted, glazed, filled with recessed masonry, or void. A lunette may also be segmental ...
Created Date: 8/30/2012 4:52:52 PM
The Jews began to use specific symbols in their art as a means of expressing and affirming their Jewish identity. These symbols included the menorah, the showbread table, the ark, ritual objects, and the conch. Originally part of the Temple rites, these symbols held significant meaning and became a prominent feature in Jewish art of the period.
He was the first to popularize the term "Jewish art" in an article published in 1878, and is regarded as the founder of the scholarly discipline of Jewish art history. His disciple Dr. Samuel Krauss wrote in 1901: As late as ten years ago it would have been absurd to speak about a Jewish art. It is Kaufmann's own merit to have uncovered this art.
The prosperity that Jews bring to a society — along with values that originated in the Torah of every human life being precious, equal justice under the law, tolerance of other cultures and ...
Neustein's torn paper works, Erased Drawings, Magnetic Fields, Steel Wool, Carbon Copy Drawings adhered to unity and even uniformity of making objects or images. He transformed drawing into a three-dimensional practice Yigal Zalmona, Josef Maschek, Robert Pincus Witten and other international critics called that type of art "epistemic abstraction".