Cultural Exchange


Book Description

Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, Cultural Exchange meticulously combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. Joseph Shatzmiller focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and he synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, this book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, Cultural Exchange sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.




Jewish Book Art Between Islam and Christianity


Book Description

This book discusses the decoration types of Sephardic illuminated Bibles in their broader historical, and social context in an era of cultural transition in Iberia and culture struggle within Spanish Jewry.




Art of Estrangement


Book Description

"Examines the influential role of visual images in reinforcing the efforts of Spain's Christian-ruled kingdoms to renegotiate the role of their Jewish minority following the territorial expansions of the twelfth and thirteenth centuries"--Provided by publisher.




The Jews in Christian Art


Book Description

One of the fist works to consider art as a serious source of historical knowledge about the Jews and the ideological constructs developed around them by Christian thinkers and artists, this "picture atlas" demonstrates in a way no text can how Jews were seen through Christian eyes.




Reframing Rembrandt


Book Description

"This book embeds Rembrandt's art in the pluralistic religious context of seventeenth-century Amsterdam, arguing for the restoration of this historical dimension to contemporary discussions of the artists. By incorporating this perspective, Zell confirms and revises one of the most forceful myths attached to Rembrandt's art and life: his presumed attraction and sensitivity to the Jews of early modern Amsterdam."--BOOK JACKET.




Picturing the Bible


Book Description

Published on the occasion of the exhibition organized by the Kimbell Art Museum and shown there November 18, 2007 - March 30, 2008.




Rethinking Early Christian Identity


Book Description

Maia Kotrosits challenges the contemporary notion of “early Christian literature,” showing that a number of texts usually so described—including Hebrews, Acts, the Gospel of John, Colossians, 1 Peter, the letters of Ignatius, the Gospel of Truth, and the Secret Revelation of John—are “not particularly interested” in a distinctive Christian identity. By appealing to trauma studies and diaspora theory and giving careful attention to the dynamics within these texts, she shows that this sample of writings offers complex reckonings with chaotic diasporic conditions and the transgenerational trauma of colonial violence.




Dark Mirror


Book Description

In Dark Mirror, Sara Lipton offers a fascinating examination of the emergence of anti-Semitic iconography in the Middle Ages The straggly beard, the hooked nose, the bag of coins, and gaudy apparel—the religious artists of medieval Christendom had no shortage of virulent symbols for identifying Jews. Yet, hateful as these depictions were, the story they tell is not as simple as it first appears. Drawing on a wide range of primary sources, Lipton argues that these visual stereotypes were neither an inevitable outgrowth of Christian theology nor a simple reflection of medieval prejudices. Instead, she maps out the complex relationship between medieval Christians' religious ideas, social experience, and developing artistic practices that drove their depiction of Jews from benign, if exoticized, figures connoting ancient wisdom to increasingly vicious portrayals inspired by (and designed to provoke) fear and hostility. At the heart of this lushly illustrated and meticulously researched work are questions that have occupied scholars for ages—why did Jews becomes such powerful and poisonous symbols in medieval art? Why were Jews associated with certain objects, symbols, actions, and deficiencies? And what were the effects of such portrayals—not only in medieval society, but throughout Western history? What we find is that the image of the Jew in medieval art was not a portrait of actual neighbors or even imagined others, but a cloudy glass into which Christendom gazed to find a distorted, phantasmagoric rendering of itself.




Jewish Artists and the Bible in Twentieth-century America


Book Description

Explores the works of five major American Jewish artists: Jack Levine, George Segal, Audrey Flack, Larry Rivers, and R. B. Kitaj. Focuses on the use of imagery influenced by the Bible.




Jews Among Christians


Book Description

Jews among Christians explores a corpus of illuminated Hebrew manuscripts of the Lake Constance region produced in the first decades of the fourteenth century. The author Sarit Shalev-Eyni, Professor at the Hebrew University of Jerusalem, provides a detailed and insightful study of the content, design, and iconography of the illustrations and decorations of a group of Ashkenahzi codices, thereby uncovering a surprising interface between Jews and Christians in the urban workshops of the time. Here, Christian artists would include midrashic components required by their Jewish instructor while drawing on the iconographic traditions of their Christian education, and artists of both religions were able to represent their own theological attitudes as well as profane tendencies and parody - in short, the various aspects of late medieval culture.A close comparison with the well-known Gradual of St. Katharinenthal, now in Zurich, and manuscripts such as the Schocken Bible, formerly in Jerusalem, and the Tripartite Mahzor -- originally bound as two volumes, but now split between Budapest, London and Oxford -- places the corpus firmly in the Lake Constance region and all but confirms the instructor to be one Hayyim, the scribe. The author's discussion of Hayyim's life and work and her historical overview of the relations between Jews and Christians in the final chapters of the book deepens our understanding of the religious and cultural dialogue between the two faiths not only in the production of this group of manuscripts but in the course of every-day life in the Middle Ages.