Orginal ART POETRY Jewish BOOK Hebrew MARC CHAGALL Polish JERZY FICOWSKI Judaica

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285704660235 Orginal ART POETRY Jewish BOOK Hebrew MARC CHAGALL Polish JERZY FICOWSKI Judaica.

DESCRIPTION : Up for sale is a rare copy of the artistic Hebrew-Israeli edition of "LETTER TO MARC CHAGALL" ( In Polish "LIST DO MARC CHAGALLA") by the JEWISH - POLISH POET , WRITER and TRANSLATOR - JERZY FICOWSKI which was beautifuly illustrated by Israeli acclaimed artist ORA LAHAV CHAALTIEL . The PAINTINGS are an impressive HOMMAGE to MARC CHAGALL . The poems are HOLOCAUST , WW2 WAR and ANTI NAZI uprise related.  Hebrew. Original illustrated HC. 7 x 12" . 28 unpaged throughout illustrated heavy stock pp. Very good condition.  Tightly bound. Clean. Tears in spine  .( Pls look at scan for accurate AS IS images )  Book will be sent inside a protective packaging .

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SHIPPMENT : Shipp worldwide via registered airmail is $ 25 . Will be sent inside a protective rigid packaging .  Will be sent  around 5-10 days after payment .  

Jerzy Ficowski (Polish pronunciation: [ˈjɛʐɨ fiˈt͡sɔfskʲi]; October 4, 1924, Warsaw - May 9, 2006, Warsaw) was a Polish poet, writer and translator (from Yiddish, Russian, Romani and Hungarian). Contents 1 Biography and works2 Selected publications3 References4 External links Biography and works During the German occupation of Poland in World War II, Ficowski who lived in Włochy near Warsaw was a member of the Polish resistance. He was a member of the Home Army (Armia Krajowa, AK), was imprisoned in the infamous Pawiak and took part in the Warsaw Uprising of 1944. His codename was Wrak and he fought in Mokotów region. Following the Warsaw Uprising, Ficowski entered a camp with other survivors of the battle. After the war, Ficowski returned to Warsaw and enrolled at the university in order to study philosophy and sociology. There he published his first volume of poetry, Ołowiani żołnierze (The Tin Soldiers, 1948). This volume reflected the Stalinist atmosphere of the early postwar Poland, in which heroes of the Armia Krajowa Warsaw Uprising were treated with suspicion at best, arrested and executed at worst, together with the sense of a new city arising from the ashes of the old. His early works show the influence of Julian Tuwim. Later he became interested in the poems of the interwar period, with elements of fantasy and grotesque. In the later period his poems reflected various moral and social aspects of life in the People's Republic of Poland. From 1948 to 1950 Ficowski chose to travel with Polish Gypsies and came to write several volumes on or inspired by the Roma way of life, including Amulety i defilacje (Amulets and Definitions, 1960) and Cyganie na polskich drogach (Gypsies on the Polish Roads, 1965). He was the member of the Gypsy Lore Society and translated the poems of Bronisława Wajs (Papusza). He was interested in many aspects of international poetry. He translated the poems of the Spanish poet, Federico García Lorca, and he was also a known specialist of Jewish folklore and Modern Hebrew poetry, becoming an editor of the Jewish poem anthology Rodzynki z migdałami (Raisins with Almonds, 1964). Ficowski devoted many years of his life to the study of the life and works of Bruno Schulz, and in 1967 published the first edition of what is considered the definitive biography of him, entitled Regions of the Great Heresy. He received the award of the Polish Pen Club in 1977. His 1979 collection of poems, A Reading of Ashes, has been called the most moving account of the Holocaust written by a non-Jew.[1] As a consequence of his signing, in 1975, of the letter of 59, practically all of Ficowski's writings had become banned in Poland for the remainder of the decade, and only the emergence of Solidarity in the early 1980s has brought his works back to Poland's bookshelves. Both his prose and poems continued to be widely translated in the West. He was active in the opposition movement, and was a member of the Workers' Defence Committee (Komitet Obrony Robotników, KOR) and subsequently of the Committee for Social Self-defence KOR. Under the communist regime he had urged his fellow writers to voice their concerns over censorship and the suppression of workers. His most public statement was a letter to the Writers Union in which he said, "I do not believe deeply in the immediate effectiveness of letters to the government, but even less do I believe in the effectiveness of silence." Following the fall of communism, liberalisation of Poland and its breaking with the Soviet bloc, Ficowski continued to write and translate works from languages as diverse as Spanish and Romanian, not to mention the Yiddish and Roma languages that had always fascinated him. Selected publications Jerzy Ficowski's monument, Cmentarz Komunalny (d. Wojskowy) - Powązki, Warsaw (Poland), July 30, 2006 Poetry Ołowiani żołnierze (1948)Zwierzenia (1952)Po polsku (1955)Moje strony świata (1957)Makowskie bajki (1959)Amulety i defilacje ("Amulets and Definitions") (1960), inspired by his stay with GypsiesPismo obrazkowe (1962)Ptak poza ptakiem (1968)Odczytanie popiołów (1979); on the Jews and their suffering; illustrated by Marc Chagall; translated by Keith Bosley as A Reading of Ashes, 1981)Errata (1981)Śmierć jednorożca (1981)Przepowiednie. Pojutrznia (1983)Inicjał (1994)Mistrz Manole i inne przekłady (2004; collected translations of poetry)Zawczas z poniewczasem (2004)Pantareja (2006) Poetic prose Wspominki starowarszawskie (1959)Czekanie na sen psa (1970; translated by Soren A. Gauger and Marcin Piekoszewski as Waiting for the Dog to Sleep, 2006) Others Cyganie polscy (1953)Cyganie na polskich drogach (1965)Gałązka z drzewa słońca (1961)Rodzynki z migdałami (1964)Regiony wielkiej herezji (1967, revised editions 1975, 1992, 2002; translated by Theodosia S. Robertson as Regions of the Great Heresy, 2000)Okolice sklepów cynamonowych (1986)Demony cudzego strachu (1986) Cyganie w Polsce. Dzieje i obyczaje (1989; translated by Eileen Healey as The Gypsies in Poland. History and Customs, 1989) Activist, Adventurer, Poet - the Incarnations of Jerzy Ficowski Mikołaj Gliński 2013/09/01 A true renaissance man, Jerzy Ficowski was a writer, poet, translator, a scholar specialized in gypsy culture, expert on writers Bruno Schulz and Bolesław Leśmian and painter Witold Wojtkiewicz, composer of popular songs and Second World War underground soldier. Culture.pl presents this brilliant man-of-all-trades through a spectrum of his guises and accomplishments. Soldier Jerzy Ficowski as a soldier. Photo courtesy of the National Digital Archives During the German occupation, young Ficowski got an underground education and became involved with the opposition based in Warsaw's suburb of Włochy suburb. On the 13th of October 1943 he was arrested in a raid, thrown in the notorious Pawiak prison, then released after a short period. At 20, he joined the Warsaw Uprising, taking the codename Wrak and joining the Baszta company in heavy fighting in Mokotów, the city's southern district. After the Uprising he was sent to a POW camp in Germany, but managed to escape in 1945 and return to devastated Warsaw. As his wife, Elżbieta, would recall, he never wanted to speak of the time of the Uprising. He was of the mind that his participation was driven by a sense of duty rather than a sense of conviction. He felt he'd lost all his childhood friends in the fighting - and if it hadn't been for the Uprising, these people would have survived to do a great deal for the liberated nation. Topics of war and his own losses are revealed in the verses of his first poetry collection, Ołowiani żołnierze / Tin Soldiers (1948). The title poem speaks of the scum of memory and forgetfulness. Gypsy scholar Gypsy Road, 1963. Photo courtesy of the National Digital Archives The first time Ficowski joined a gypsy caravan was in 1949 (he made consistent use of the term "gypsy" in favour of the more politically correct "Roma"). Edward Czarnecki, already immersed in gypsy circles, helped his early forays into their hermetic society. At first Ficowski had a plan of writing a book about them, but reality altered his plans. At the same time, his time among the gypsies served to hide Ficowski away from the Security Bureau agents pursuing him for his activities with the anti-Communist Home Army during the war. Ficowski learned the gypsy language, gaining the trust and friendship of many and sharing their nomadic lifestyle. The gypsy tradition based on seasonal roaming was halted in 1964 (attempts to settle the gypsies had been introduced by Communist authorities in 1950 under the guise of "productivisation"). Ficowski's journeys with the gypsies live in his books Cyganie polscy / Polish Gypsies (1953) and Cyganie na polskich drogach / Gypsies on the Polish Road (1965), in Pod berłem pikowego króla / Under the Sceptre of the King of Spades, which explores the secrets of gypsy fortune-telling, and in his collection of gypsy tales for children. In 1956, Ficowski published his translations of poems by Papusza - Bronisława Wajs, the gypsy poet who wrote in the Roma language, composing poems that were drawn from gypsy folksong tradition, offering a glimpse into the private thoughts and yearnings of this otherwise secluded people. The publication had an indelible impact on both their lives, as they each experienced scorn from the gypsy community for revealing treasured secrets to the world. Papusza's Confidante Jerzy Ficowski with Bronisława Wajs, Photo courtesy of the National Digital Archives Ficowski had met Papusza over the course of his first expedition with the gypsy caravan in 1949 in the Pomerania region, where they had traveled after the war. The group was looking for an area to settle, with the authorities encouragement (not yet the aggressive insistence that would be applied in the future). Papusza was around 40 at the time. Ficowski uncovered her talent and, what's more, convinced her that she had a talent for poetry in the first place, as she had little confidence in her musings. He encouraged her to write her poems down and share them with him. They were written in a shaky hand, signed simply Papusza (a nickname that came from the Roma word "doll"). In her poems she would refer to Ficowski as a brother. He published her work and spread the word to other poets and the public. Acclaimed poet Julian Tuwim also became a great admirer of her poetry. Yet the publication of her poems in 1956 came with tragic consequences. Accused of treason by her people, who believed that sharing their secrets with the outside world was a crime, threats against her led her to fall victim to mental illness that lasted until her death at 70. As Ficowski wrote, by the end of her life, Bronisława Wajs had completely forgotten about Papusza, having discarded poetry from her life and from her memory. A film currently in the works about Papusza, her life and poetry. For more about the project, see Papusza Praised Internationally . Songwriter Among Ficowski's many incarnations, that of songwriter is the most entertaining. His themes were also drawn from gypsy lifestyle. Many songs have endured to this day, for example Jadą wozy kolorowe / Coloured Wagons Ride By, performed by popular singer Maryla Rodowicz. Schulzologist Bruno Schulz, illustration from "Księga obrazów" (The Book of Pictures), edited by Jerzy Ficowski Ficowski first read Bruno Schulz's Cinnamon Shops in 1942 - the year Schulz was killed by a Gestapo officer. He was given the story collection by a friend. As he recalled, "One day I read it and... I found myself on the edge of insanity and awe, this book affected me like a strange drug or spirit, I felt as if I were ill, that I couldn't take it. I was 17 at the time, I was bitten for life..." He continued to read Schulz through the occupation. After the war he decided to find what had remained of the artist-writer's life and works, including his sketches. He made inquiries and sought out people who had known Schulz, traveling to the places Schulz had been - Drohobych, Truskawiec and Lviv in what is now Ukraine. Thanks to Ficowski, we have a broad collection of letters and recollections on the writer today. He forged a rapport with Józefina Szelińska, Schulz's romantic partner, who had reserved her anonymity for years (figuring only as J. in correspondence with the writer). And he brought to light the fact that it was Szelińska's translation of Kafka's The Trial that Schulz had signed with his own name. Ficowski also uncovered drawings by Schulz, publishing a volume of these works (recently reprinted by the publisher Słowo/Obraz Terytoria). He remained frustrated that a great deal of valuable material was still out of reach, such as letters written to Szelińska, which had been kept in the house outside of Lviv, and the first version of Cinnamon Shops, most likely burned about a year before Ficowski made it to her house. Until his last days, he believed that Schulz's magnum opus Messiah existed and could be recovered in his lifetime. Ficowski was Schulz's guardian of sorts. He defended his originality against comparisons with Kafka - asserting that the two differed in their approach to matter: "Life, real existence had for Schulz the most essential meaning as a raw material for his work" - and against other experts who had known Schulz personally. In polemics with Andrzej Chciuk on whether the writer adopted Catholicism in the 1930s, and with the critic Artur Sandauer on whether he had actually been an atheist and Marxist, he used facts to defend the writer against those assertions. After many years, another Schulz expert, the literary critic Jerzy Jarzebski, confirmed Ficowski's claims. His interest in Schulz resulted in the monographs Regiony wielkiej herezji / Regions of the Great Heresy (1967) and Okolice sklepów cynamonowych / Around the Cinnamon Shops (1986). He spoke of himself not as an expert on Schulz but as a follower. He considered Schulz, along with poet Wladysław Leśmian and painter Witold Wojtkiewicz, in his mythical trinity. Translator Ficowski's accomplishments in the field of literary translation span Roma poetry and Papusza's writings, Federico Garcia Lorca's work, the love poetry of Dubrovnik, Jewish folk poetry and Icchak Kacenelson's Song of the Murdered Jewish Nation, as well as the poetry of Leśmian in Russian. His translations were often based on philological transcriptions (from Romanian or Yiddish) and he proved himself an unsurpassed master of the Polish language. In considering whether all these varied projects could be linked, scholar Jakub Ekier sugggested that not only were the translations convincing, they are also characterised by a certain marginality, the way they stray from the centre. "Yet what is this centre after all? Contemporary Polish language? The Warsaw language of generations? Or perhaps his personality?" Ekier inquired. A sizable collection of Ficowski translations have been put together in Mistrz Manole i inne przekłady / Master Manole and Other Translations (Pogranicze, 2004). Poet The French edition of A Letter to Marc Chagall, with illustrations. Source: www.desa.pl Ficowski made his debut as a poet in 1948 with the collection Ołowiani żołnierze / Tin Soldiers. Critics remarked on the influence of Julian Tuwim on his writing and his later references to the interwar avant-garde, the "grotesque" and fairy-tale elements. In total he published 14 collections of poetry, considering Odczytanie popiołów / Reading Ashes (1980) his most important work, which took up the subject of the Holocaust and which he worked on for many years. "I wrote for a long time in order to avoid offending anyone with what I wrote", he would later say. Ficowski had the impression that "a poem does not have to dress up in a costume to be an invention, it doesn't have to hold onto the standard of using few words. It is the discovery of a strange, sometimes magical truth about the world", he explained in an interview with Lidia Ostałowska. Henryk Grynberg wrote about Ficowski's poetry on the Holocaust, calling him the most important figure in this realm and remarking that "after him there is a great, great abyss". He singled out such poems as Wniebowzięcie Miriam z ulicy zimą 1942 / Miriam's Ascent to Heaven from the Street in Winter 1942 and Sześcioletnia z getta żebrząca na Smolnej w 1942 roku / 6-year-old from the Ghetto Begging on Smolna Street in 1942. Marc Chagall expressed his admiration for Ficowski's poetry in 1968 and answered the poem A Letter to Marc Chagall with an illustration that later became part of the collection Odczytania popiołów. For Ficowski poetry was a sacred thing, and he said "Poetry is not an occupation. It is a series of sacred moments. A poem happens". He would say that writing poetry was the only access he had to a sacred practice. Member of the opposition Jerzy Ficowski. Photo courtesy of the National Digital Archives Ficowski was burdened by the conviction that he lacked the mien of a social activist - yet for many years he actively participated in the opposition. He was among the petitioners in 1968 calling for a meeting in criticism of the authorities' cultural agenda. In 1971 he wrote a letter against the anti-Semitic persecution of the time, which forced thousands of citizens to emigrate and took away their Polish passports. Ficowski called for action that would bring them back to their native land. Ficowski became one of the signers of Memorial 59"in December 1975, which protested changes to the constitution. Three years later he joined the Workers' Defense Committee (KOR). "I joined the Uprising not because I liked to shoot guns, because I'm no sniper. I joined KOR even though I lack the instincts of a social activist", he explained. His KOR membership lasted from 1976 to 1980 and brought a ban on publishing his works. "Paradoxically, this was a fruitful time for me because I was released from any limitations", he said. During this period he finished a decade of work on Reading Ashes and translated the poem by Kacenelson, one of the most startling accounts of the Holocaust. "When money was scarce, I would sell a few old things and a gypsy caravan to the museum. I survived". Author: Mikołaj Gliński, 10.08.2013. Translated by Agnes Monod-Gayraud, 02.09.2013 Jerzy Ficowski Laid To Rest The writer, gypsy scholar and resistance veteran Jerzy Ficowski was laid to rest on Thursday at Warsaw's historic Powazki Cemetery. Ficowski was eighty-two when he passed away a week ago. As mourners paid their last respects, a gypsy violinist played a traditional melody over the writer's coffin. Jerzy Ficowski is chiefly known in the West as the foremost scholar of Bruno Schulz, the pre-war Polish/Jewish writer who has been dubbed 'the Polish Kafka.' Although Ficowski himself lay outside the realms of popular trends, he was respected in Poland as a distinguished writer in his own right, and he published a number of short stories. Ficowski's fruitful relationship with Poland's beleaguered Romany community came about in peculiar circumstances. The writer had fought in the doomed Polish Uprising in Warsaw against Nazi occupation. After the Soviets installed their men in 1945, Ficowski - like many resistance veterans - felt compelled to go into hiding. After living with the Roma for two years, he went on to become Poland's most distinguished scholar of gypsy lore. Ficowski's landmark biography of Bruno Schulz (who was gunned down by a Nazi soldier in 1943) was published in an English translation in 2002. A Canadian writer, Soren Gauger, has since translated 'Waiting for the Dog to Sleep', a collection of short stories that is due for publication this summer. Writers, resistance veterans and representatives of the Roma community all gathered on Thursday to bid farewell to Ficowski. He is survived by his wife. · Jerzy Ficowski, who has died aged 81, was Poland's prominent but unorthodox poet "from the borderlands", a fervent Christian who celebrated Polish Roma culture and memorialised in verse the Jewish victims of the Holocaust. He was respected for his lifelong contribution to the struggle to free his homeland, first as a youngster during the Nazi occupation, then as a patron of, and participant in, the human rights campaign against communist rule. Abroad, he is best remembered for his biography of novelist Bruno Schulz, widely regarded as the Polish Kafka. · Ficowski was born during Poland's interwar period of independence. He attended school in Warsaw but this interlude of tranquillity came to an abrupt end in 1939, with the German and Soviet invasions. He enlisted in the underground movement and was involved in clandestine publishing. In 1943 he spent several weeks in the Gestapo prison at Pawiak, in Warsaw. During the 1944 Warsaw uprising, when the Polish underground rose against the Nazis in the hope of liberating the capital before the arrival of the Red army, Ficowski served with the famous Baszta regiment. The uprising lasted for 63 days and more than 200,000 Poles died, after which Hitler destroyed Warsaw. · · Sign up to our Bookmarks newsletter · Read more · Along with many other survivors, Ficowski ended up in a camp in Germany. At the end of the war, he returned to Warsaw, studied philosophy and sociology at the rebuilt university and published his first volume of poetry, The Tin Soldiers (1948), while the city was slowly rising from the ashes in the stifling atmosphere of Stalinist terror. · The heroes of the uprising were being treated with hostility and suspicion, their leaders imprisoned or shot by the regime. Ficowski subsumed his patriotic dreams in a broader vision of those who had suffered even more than the Poles under the Nazis - the Roma and the Jews. He used his sociological discipline, literary skills and poetic vision to write about these cultures that had almost disappeared during the war. · For some years he travelled with Gypsies across Poland, submerging himself in their secret world and learning their language. In 1956 he translated and published the songs of an almost illiterate Gypsy woman poet, Papusza. In 1965 he wrote a brilliant sociological study of the Roma way of life, Gypsies on the Polish Road. Other volumes of poetry inspired by Roma culture included Amulets and Definitions (1960) and, more recently, Branches of the Sun Tree. · Ficowski's prose masterpiece was his life of the expressionist Jewish writer Schulz, in whom he had first shown an interest weeks after the writer was murdered by the SS in 1942. Ficowski studied his life for more than a decade, publishing the first edition of his definitive biography, Realms of the Great Heresy, in 1967. The book has been translated into many languages and was particularly well received in the US. · Several Jewish commentators criticised Ficowski's interpretation of Schulz as a Polish rather than a Jewish writer, but if that was the case it did not minimise Ficowski's love of Yiddish culture or stifle his memories of the Warsaw ghetto. His tribute to the Jews and their suffering appeared in the moving poetry collection, Reading the Ashes (1980), illustrated by Marc Chagall, and Around the Cinnamon Shops (1986), which drew again on the life of Schulz. · By the late 1970s all of Ficowski's works had been banned (including the poem, I Think, Therefore I Am Not). He was in the vanguard of Poland's political reawakening as a co-signatory of open letters to the government from writers, musicians, actors and veterans, and was one of those who urged the Writers Union to protest over censorship and the repression of workers. In 1976 he said: "I do not believe deeply in the immediate effectiveness of letters to the government, but even less do I believe in the effectiveness of silence." His prose and poems were translated widely in the west and the emergence of Solidarity in 1980 brought his works back to Poland's bookshelves. · Even after Poland re-emerged as an independent country in 1990, Ficowski was not silent. With his trademark beret and cigarette, he continued his cultural examinations, translating from Romanian and Spanish as well as Yiddish and Roma. He wrote of himself as a survivor, one who had experienced cultures that had been almost eradicated - but which he recreated in the "borderlands of his imagination" as a rich, tolerant society to which he felt Poland and its neighbours should aspire. · He leaves a widow and a daughter. · · Jerzy Ficowski, poet and writer, born October 4 1924; died May 9 2006 Jerzy Ficowski | List do Marc Chagalla Apr. 23rd, 2008 at 9:00 PM zaleszczotek Poezja Jerzego Ficowskiego nigdy nie należała do moich ulubionych, ale lubię ten rodzaj wrażliwości (a trafiłam na niego przez jego zainteresowanie Żydami i Cyganami). Zamieszczam akurat teraz, bo kwiecień i Pascha była. Przypomniał mi się ten wiersz, bo wróciłam sobie znowu do mojego ukochanego Chagalla, który - nawiasem mówiąc - spędził lata wojny we Francji (już jako jej obywatel) i w Ameryce. I lubię wiersze nawiązujące do malarstwa; aż kusiło mnie, żeby zalinkować odpowiednie ilustracje do kolejnych wersów. LIST DO MARC CHAGALLA I Jaka szkoda, że pan nie zna Róży Gold, najsmutniejszej złotej róży. Ona miała tylko siedem lat, kiedy skończyła się ta wojna. Nie widziałem jej nigdy, ale ona oczu ze mnie nie spuszcza. Dwa razy śniegi topniały na nich, dwa tysiące razy umierały sześcioletnie oczy Róży Gold. Brat wyszedł w nocy, napił się wody z kałuży i umarł. Pogrzebaliśmy go nocą w lesie. Raz wujek wyszedł z bunkra i już nie wrócił. Siedzieliśmy tak ukryci 18 miesięcy, aż Rosjanie przyszli. Wcale nie umiałyśmy chodzić i teraz jeszcze mamy słabe nogi. A Róża jest zawsze smutna, często płacze i nie chce bawić się z dziećmi. Jak to dobrze, że pan nie zna Róży Gold! Wybuchłaby dymem kiść bzu, w której leżą zakochani. Skrzypce zielonego muzykanta poderżnęłyby mu gardło. Brama kirkutu obróciłaby się w proch albo zarosła cegłą. Farba zwęgliłaby płótna. Bo ostatni, najstraszliwszy krzyk jest zawsze tylko milczeniem. Jaka szkoda, że pan nie zna Frycka! Jego matka zdążyła urodzić go tuż-tuż przed wojną. A on chciał być śledziem, który ma swoją sól, albo muchą, której wolno brzęczeć. Bo jemu wolno było tylko trochę być. Śniła mu się za szafą cebula, no to jak miał nie płakać z takich snów?! Siedziałem za szafą, kolacji nie jadłem. Jak ktoś przychodził, siedziałem cichutko, nawet nigdy nie byłem na słońcu. Przykrywałem się kołdrą, w której było pełno wszy. Myślałem, że zawsze już tak będę. Oni mówili, że pojadą do Częstochowy, a mnie zostawią. Już chciałem płakać, ale myślałem: co tam, jak oni wyjadą, to wyjdę zza szafy. Jak to dobrze, że pan nie zna Frycka, co udawał za szafą pajęczynę! Siedzi córeczka w zielonym oknie. Szumi przez lata samowar z Witebska. Kopcą senne lampy naftowe. Skrzydlaty śledź jarmarkom błogosławi z nieba. Zresztą po co wierzyć we Frycka? Przecież Frycek nie jest Panem Bogiem. II I pewnego dnia przyszła mamusia i zabrała mnie do innego mieszkania, gdzie musiałem do mamusi mówić „pani”. Czasem zapominałem mówić do mamusi „pani” i wtedy mamusia była bardzo zdenerwowana. Ale mnie tak trudno było przyzwyczaić się do tego, tak ciężko, że czasami musiałem szepnąć na ucho mamusi kilka razy: „Mamusiu, mamusiu, mamusiu.” I pytałem: „Mamusiu, a jak się skończy wojna, to czy będę mógł mówić do ciebie głośno – mamusiu?” Oto wersety z Najnowszego Testamentu. W nim sześć milionów kart zwęglonych, a w ocalałych przegląda się od lat czerwony świecznik pożaru. A są też świadectwa rzeczy. W lustrze fryzjera brodaty przestrach wzbudził kręgi coraz szersze, szersze, jak w smutnej wodzie zielonej i rozsadził tamten świat. Nie zostało nawet odbicie. Posłałbym panu, panie Chagall, choćby mały odłamek lustra, ale one są już głęboko w warstwie umarłej ery, a koło nich dostatek kości, którym bardzo na tym zależy, aby trochę pomilczeć o nich, leżących we wszystkich niewiadomych miejscach, i odmawiać za nie głośno słowo: „Mamełe”. Dziecko bardzo bało się śmierci. Tuliło się do matki i pytało: „Mamusiu, czy śmierć bardzo boli?” Matka płakała i mówiła: „Nie, tylko chwileczkę” – i tak ich zastrzelili. I powstały nowe pustynie: piaski Majdanka, Sobiboru, wydmy Treblinki i Bełżca, gdzie wiatr układa na wieczorny spoczynek nie krzemień, nie mikę, piaskowiec – zmielone w żarnach starych mórz – ale wapń i węgiel ludzkiego rodu zrównanego z ziemią. Ja – człowiek, ja – syn tej ziemi, ja – niespalony ich brat jeszcze widzę, jak pana kogut oślepły chroni ogryzki ludzkich spraw i w ostatnim dniu zniszczenia unosi się nad popiołami. III Na terenach byłych obozów zagłady grasują bandy rabunkowe, szukające złota w pokładach popiołu pozostałego po spalonych więźniach. W ciemności popioły płyną przez durszlakowe klepsydry. I jest w powietrzu tak, jakby oddychało się ostatnim tchnieniem. Czasem noc rozświeci zmartwychwstała spod ziemi gwiazda: złoty ząb wyrwany z popiołów. I wtedy widać z tym błysku ręce człekokształtnych ociekające czerwienią. Dzisiaj poznałem te dłonie, choć za dnia są czyste jak opłatek: biły brawa jadącym pociągom, w których opuszczali nas na zawsze Róża Gold i Frycek zza szafy, zostawiając swoich umarłych. Myślę, że znajdą przytułek i że spotkam ich jeszcze w bezpiecznych zakamarkach wróżebnych kolorów u pana, panie Chagall. Marc Zaharovich Chagall (6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian artist associated with several major artistic styles and one of the most successful artists of the 20th century. He was an early modernist, and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints. Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century". According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra. Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is". The Yiddish Book Collection of the Russian Avant-Garde contains books published between the years 1912-1928 by many of the movement’s best known artists. The items here represent only a portion of Yale's holdings in Yiddish literature. The Beinecke, in collaboration with the Yale University library Judaica Collection, continues to digitize and make Yiddish books available online. With the Russian Revolution of 1917, prohibitions on Yiddish printing imposed by the Czarist regime were lifted. Thus, the early post-revolutionary period saw a major flourishing of Yiddish books and journals. The new freedoms also enabled the development of a new and radically modern art by the Russian avant-garde. Artists such as Mark Chagall, Joseph Chaikov, Issachar Ber Ryback, El (Eliezer) Lisitzsky and others found in the freewheeling artistic climate of those years an opportunity Jews had never enjoyed before in Russia: an opportunity to express themselves as both Modernists and as Jews. Their art often focused on the small towns of Russia and Ukraine where most of them had originated. Their depiction of that milieu, however, was new and different. Jewish art in the early post-revolutionary years emerged with the creation of a secular, socialist culture and was especially cultivated by the Kultur-Lige, the Jewish social and cultural organizations of the 1920s and 1930s. One of the founders of the first Kultur-Lige in Kiev in 1918 was Joseph Chaikov, a painter and sculptor whose books are represented in the Beinecke’s collection. The Kultur-Lige supported education for children and adults in Jewish literature, the theater and the arts. The organization sponsored art exhibitions and art classes and also published books written by the Yiddish language’s most accomplished authors and poets and illustrated by artists who in time became trail blazers in modernist circles. This brief flowering of Yiddish secular culture in Russia came to an end in the 1920s. As the power of the Soviet state grew under Stalin, official culture became hostile to the experimental art that the revolution had at first facilitated and even encouraged. Many artists left for Berlin, Paris and other intellectual centers. Those that remained, like El Lisitzky, ceased creating art with Jewish themes and focused their work on furthering the aims of Communism. Tragically, many of them perished in Stalin’s murderous purges. The Artists Eliezer Lisitzky (1890–1941), better known as El Lisitzky, was a Russian Jewish artist, designer, photographer, teacher, typographer, and architect. He was one of the most important figures of the Russian avant-garde, helping develop Suprematism with his friend and mentor, Kazimir Malevich. He began his career illustrating Yiddish children's books in an effort to promote Jewish culture. In 1921, he became the Russian cultural ambassador in Weimar Germany, working with and influencing important figures of the Bauhaus movement. He brought significant innovation and change to the fields of typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim. However, as he grew more involved with creating art work for the Soviet state, he ceased creating art with Jewish themes. Among the best known Yiddish books illustrated by the artist is Sikhes Hulin by the writer and poet Moshe Broderzon and Yingel Tsingle Khvat, a children’s book of poetry by Mani Leyb. Both works have been completely digitized and can be found here. Joseph Chaikov (1888-1979) was a Russian sculptor, graphic artist, teacher, and art critic. Born in Kiev, Chaikov studied in Paris from 1910 to 1913. Returning to Russia in 1914, he became active in Jewish art circles and in 1918 was one of the founders of the Kultur-Lige in Kiev. Though primarily known as a sculptor, in his early career, he also illustrated Yiddish books, many of them children’s books. In 1921 his Yiddish book, Skulptur was published. In it, the artist formulated an avant-garde approach to sculpture and its place in a new Jewish art. It too is in the Beinecke collection. Another of the great artists from this remarkable period in Yiddish cultural history is Issachar Ber Ryback. Together with Lisistzky, he traveled as a young man in the Russian countryside studying Jewish folk life and art. Their findings made a deep impression on both men as artists and as Jews and folk art remained an abiding influence on their work. One of Ryback’s better known works is Shtetl, Mayn Khoyever heym; a gedenknish (Shtetl, My destroyed home; A Remembrance), Berlin, 1922. In this book, also in the Beinecke collection, the artist depicts scenes of Jewish life in his shtetl (village) in Ukraine before it was destroyed in the pogroms which followed the end of World War I. Indeed, Shtetl is an elegy to that world. David Hofstein’s book of poems, Troyer (Tears), illustrated by Mark Chagall also mourns the victims of the pogroms. It was published by the Kultur-Lige in Kiev in 1922. Chagall’s art in this book is stark and minimalist in keeping with the grim subject of the poetry. Chagall was a leading force in the new emerging Yiddish secular art and many of the young modernist artists of the time came to study and paint with him in Vitebsk, his hometown. Lisistzky and Ryback were among them. Chagall, however, parted ways with them when their artistic styles and goals diverged. Chagall moved to Moscow in 1920 where he became involved with the newly created and innovative Moscow Yiddish Theater. Cite as: General Modern Collection, Beinecke Rare Book and Manuscript Library, Yale University Ora Lahav-Chaaltiel Tel: 04-9842018 Born in kibbutz Mizra, 1936. Acquired drawing proficiency with Marcel Yanco. Studied painting with the painter Zvi Meirovitoh. Studied Lithography with Moshe Cohen and Jacqueline Larieau in Rue de Beaux Arts 5, workshop in Paris. Acquired knowledge in paper generation in the Uncle Bob Lesley Paper Workshop in Beer-Sheva. Director of the Ein-Hod Lithography Workshop. Works in the Lithography workshop in the Cite in Paris. Member of the Israel Painters and Sculptures Association. Member of the IAPhfA Association, an International Association of Handmade Paper Artists. Member of “INSEA”, an International Association of Art Educators. Established the Art Faculty in the Art School “Yemin-Orde” and “Reuot”. Married to Josef Chaaltiel. 3 children – Eldad, Ohad, Ya’ara. Selected Single Exhibition: 1960, 1974, 1994 Chagal Artists’ House, Haifa 1969 Eilat Museum, The Holocaust and Heroism Museum 1970 Kibbutz Lohamei Hagetaot The Holocaust Museum in Besancon, France. 1975 Ancient Jaffa Gallery 1978 Tsavta, Tel Aviv 1981 Artists’ House, Jerusalem 1985 Center Rashi in Paris, Saphir Gallery, P Rf 1S 1986 The Modern Art Museum, Haifa, Eked Gallery, Tel Aviv 1988 Cite Gallery in Paris 1965-1991 Ein-Hod Artists’ House 1993 Yad Lebanim House, Haifa, an exhibition with Josef Chaaltiel 1994 In the Exhibition Pair in Porte de Versailles, Paris. A single exhibition organized by Saphir Gallery in Paris. The Saga, the international Book Fair. In the Book fair in Saint Germain, Paris. In the city of Dinar in Bretagne, France,. in the Saphir Gallery branch. 1996 Carmel Gailery, Daliat El Carmel 1997 Artists House Tel Aviv. The Mail Art Exhibition – The main Post Copenhagen Denmark. La Cite, Paris. The main Gallery Ein Hod 1998-99 2 exhibitions; “Cite des Arts”, Paris Ora Lahav-Chaaltiel participated in many group exhibitions in Israel and abroad. Following is a list of selected exhibitions: 1964,1968,1987 Artists exhibition from Ein-Hod in Beer Sheva, in the Negev Museum and the Visual Art Workshop. 1981 Biennale for drawings, Cleveland, England 1985 Reprint Triennale in the Modern Art Museum in Haifa 1985-1999 For 14 years participates in the Reprint Mini-Biennale in Barcelona, Taler Gallery. 1985-1993 Participates in the Cite Artists exhibition in Paris, in the Cite Gallery 1986 - Graphics Biennale in Sarcelles in France, Ex-Libris Exhibition in Lebon, Belgium 1987 With the framework of the Lithography Workshop of Morlo single show and demonstrated Lithography in the Modern Art Museum, Haifa. 1989 Art Biennale in Walparaiso, Chille, artists illustrate for poets, a wondering exhibition on behalf of the Education Ministry exhibits in the various museums there. “Homage to the Black Line” exhibition in Yanco-Dada Museum in Ein-Hod. “Paper, reprint from the beginning”, Zafed Museum for the printing art, The Zionist Federation House in Jerusalem. Gambel Gallery, Oslo Norway. Petite Reprint Museum in Courin, Belgium. 1990 Wilfrid House, Hazorea, a Creative Paper Exhibition, “Composition”, Ein-Hod 1991 Creative Paper Biennale in Budapest, Hungary. 1994 Paper Artists’ exhibitions in memory of Joyce Schmidt in Beer Sheva (Joyce Schmidt brought the paper know-how to Israel) 1995 “Masks” The Opera House Tel – Aviv 1996 Art Education. The Nation House Jerusalem. Mail Art at the Post in Copenhagen, Denmark 1997 Ex – Alibis, Bologna, Italy. 1998 5 artists from Ein-Hod show in the “Star Gallery” Boston “Brightness” Kyriat Gat Gallery Internet 1999 Graphics Biennale in Sarcelles. 2000 - “Animata”, Jerusalem Theater - “Simgallery”, Moshav Magadim: “And tike a tree planted on a water stream” – 8 paper artists - “Paper Culture”, exhibition by paper artists at the Tefen Museum in Omer, near Beer Sheba. - Regards – Givat Haviva Art Gallery. - Paper from Ein-Ofek, 10 paper artists exhibit at the Ein- Ofek Natural Reserve. -Women Against Violence – Jerusalem Theater - Graphics Hienale No. 1, Frencavilla-ta-mar, Italy - Ex Libris, Boston, USA - Exhibition with Joseph Chaaltiel, at the French Cultural Center in the name of Gaston Perre - Simgallery – “A tree of life will grow in our yard”, Hoton - “As a second string”, Cultural Center, Ashkelon 2001 - “Protecting the Shield” – Simgallery, Moshav Magadim - "Blossoming Wishes”, “Seeing through the eyes of the river”, the Flour Milt at Ein-Ofek Natural Reserve, curator Ora Lahav-Chaaltiel - “Following the Philistine Bird”, Ashdod Museum – 9 paper artists - "Our Answer is Peace”, Bar-Am Museum, Exhibition at the Good Fence 2002 - Hamud-el-Karah Gallery in Daliat el Carmel, “Coexistence”, Women who Create - Sandoz Gallery, La Cite, Paris – “Lament” - Eshkol Gallery sponsored by the Graphotec, curator Noa Tal, “Paper Trees”, Ramat Gan, Nes Ziona, Kiryat Sefer, Maale Edomim - Solo exhibit, City Gallery of Afula, curator – Sheila Kashdi - “Art on the Line”, City Gallery, Haifa The Woman Festival, Jewish-Arab Theater, Jaffa “The River Mill”, the Flour Mill at Ein-Ofek Natural Reserve, curator Ora Lahav-Chaaltiel 2003 - Small Format – Musbe du Petit Format, Nismes, Belgium 4 paper artists at the Haifa Municipality, curator Josepha Azrad Participation at the Print Bienale, Chamelier, France “Crazy Blossoming”, Ein-Ofek Art in Gonfrontation, Ein Hod Gallery. Rewards: 1973- A medal from “Yad Vashem” in Jerusalem for 25 lithographs for “A song about the Jewish People that were killed “, Y. Catzenelson. 1982- Life achievements in art education, on behalf of the Ministry of Education, headed by the Art Commissioner Moshe Tamir. “The Fund for Educational Enterprises”, one reward with Josef Chaaltiel, one reward alone. 1986- Haifa Municipality Cultural Foundation. 1996 The Israel President fund for poet. 1990-1992 Israel Endowent fund 1996- The Israel President fund for poet. 1997- Schtrouk Reward – Haifa Municipality.              ebay1896

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  • Country/Region of Manufacture: Poland
  • Religion: Judaism

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