This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document summarizes the art of Hanukkah as depicted in various historical works. It describes 16 Hanukkah lamps from different time periods and regions, highlighting their artistic styles and symbolism. It also briefly mentions other Hanukkah-themed works like illustrations of Judith and Holofernes, paintings of kindling the lights, and dreidels made from diverse materials. The document analyzes the influence of local artistic traditions on the depiction of Hanukkah and how the lamps combined religious imagery with architectural and natural motifs.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
THE ART OF PISSARRO (Part 3)
THE ART OF PISSARRO surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document summarizes the art of Hanukkah as depicted in various historical works. It describes 16 Hanukkah lamps from different time periods and regions, highlighting their artistic styles and symbolism. It also briefly mentions other Hanukkah-themed works like illustrations of Judith and Holofernes, paintings of kindling the lights, and dreidels made from diverse materials. The document analyzes the influence of local artistic traditions on the depiction of Hanukkah and how the lamps combined religious imagery with architectural and natural motifs.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
THE ART OF PISSARRO (Part 3)
THE ART OF PISSARRO surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called “The Days of Awe.” Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
The document discusses the art of the Jewish High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and rituals associated with those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah reading from Jonah. The author hopes to make the art of the High Holidays contagious to the reader.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This short document discusses the art of persuasion and suggests that while it cannot be taught directly, the art can be learned through exposure, similar to how ideas or behaviors can be "caught" from others. It acknowledges attempting to make the art of persuasion contagious or infectious to the reader through the document.
The document discusses an artist's love and passion for painting. It describes how the artist puts their soul into their work, capturing all that is noble within them. The artist believes that by doing so, they cannot fail to find others who understand them as kindred spirits. For an artist, the document suggests, this is all they should wish for.
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
The document discusses the author's love of art and how it is their life. It shares a quote about how an artist puts their soul into their work and does not need many people to understand them, just a kindred soul. The document also contains a saying that the love of art cannot be taught but only caught, hoping to make the topic of art contagious to the reader.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called “The Days of Awe.” Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
The document discusses the art of the Jewish High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and rituals associated with those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah reading from Jonah. The author hopes to make the art of the High Holidays contagious to the reader.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This short document discusses the art of persuasion and suggests that while it cannot be taught directly, the art can be learned through exposure, similar to how ideas or behaviors can be "caught" from others. It acknowledges attempting to make the art of persuasion contagious or infectious to the reader through the document.
The document discusses an artist's love and passion for painting. It describes how the artist puts their soul into their work, capturing all that is noble within them. The artist believes that by doing so, they cannot fail to find others who understand them as kindred spirits. For an artist, the document suggests, this is all they should wish for.
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
The document discusses the author's love of art and how it is their life. It shares a quote about how an artist puts their soul into their work and does not need many people to understand them, just a kindred soul. The document also contains a saying that the love of art cannot be taught but only caught, hoping to make the topic of art contagious to the reader.
45. 45
It is said that…
the love of art cannot be TAUGHT
It can only be CAUGHT !
46. 46
THE ART OF REUVEN RUBIN
(Part two)
Contagious to you today!
So, I hope I’ve made
Editor's Notes
THE ART OF REUVEN RUBIN
All images, unless otherwise noted, are from
Wilkinson, S. (1971). Reuven Rubin. Harry N. Abrams, Inc. New York
THE DREAM-Reuven Rubin, 1965
Pencil and crayon, 14 ½ x 20”
Helena Klachkin Gallery, Tel Aviv
The topic of dreaming is once again on Rubin’s mind
Is this Jacob dreaming of the angel
If so, who is the woman holding the baby in the background”
FAMILY AT REST-Reuven Rubin, 1941
Pen and ink and gouache, 12 ½ x 17”
In 1939, Rubin and Esther went to New York instead of Rumania
Their projected short stay became a six-year sojourn
The war that began in Sept. 1939 prevented their return to Eretz Israel
His stay in America brought him artistic and material success
It established his reputation in the U.S.
Yet, he always claimed that he felt a stranger everywhere except Israel
FISHERMAN FAMILY FIXING NETS-Reuven Rubin, 1947
Pen and ink and wash, 20 x 26”
Collection Mrs, R, Davis, New York
Rubin had an exhibition at the Tel Aviv Museum in May of 1947
The reaction was mixed
He was criticized for not “projected the reality of Eretz Yisrael”
He said:
“The artist must be true to his convictions, to what he feels instinctively. What is news is not necessarily worthwhile. I must follow the dictates of my heart. If a painting of mine can add one iota to anyone’s joy in living, then I feel I have succeeded.”
Rubin in Bucharest as Minister Plenipotentiary to Rumania, 1948
On November 29, the General Assembly of the U. N. partitioned Palestine
After much fighting, the State of Israel was born on May 14, 1948
The proposal for him to become a diplomat came as a complete surprise to him
The Prime Minister, Ben-Gurion had confidence in his abilities
The foreign minister, Moshe Sharett, told him that he must serve his country
Rubin had long been a public figure
He was an active, energetic man associated with many communal projects
He had a forceful personality that attracted attention
The whole period of his stay in Rumania had a mystical significance for him
SNAKE CHARMER-Reuven Rubin, 1950
Mixed media, 20 x 14”
Collection Ariella Rubin, Tel Aviv
Rubin’s preferred subject is the human figure, regardless of what it’s doing
The figure may frequently have a Biblical aura
This, and the following two works, show the range of his technical expertise
They were created within 7 years, but show a development of skill
A splatter of ink drops became a Rubin characteristic
Rubin began to use a combination of various materials in many of his works
SNAKE CHARMER-Reuven Rubin, 1956
Pen and ink and wash, 31 x 21 ½”
Collection of the artist, Tel Aviv
Rubin’s line is flowing, rhythmical, graceful, strong and confident
His most direct and forceful expression is though his graphic work
He describes the contours of a body with sparse, nervous pen strokes
They are charged with energy and magically convey movement
The splatter of ink drops take on greater prominence
They provide a visual contrast to the almost frenzied, gestural line
SNAKE CHARMER-Reuven Rubin, 1957
Mixed media, 20 x 12 ½”
Collection Ami Ginegar, Tel Aviv
The ink spots have disappeared from this work
Yet, the linear contours describe the figure in the briefest of ink lines
A subtle application of tone in green and gold enhance tan and black lines
DIKLA-Reuven Rubin, 1950
Oil on canvas, 12 ½ x 10 ½”
Collection Mr. And Mrs. N. Bernstein, Dublin
Portraits were never of great interest to Rubin
As a painter who takes reality as his point of departure, he preferred to be less tied to his subject than portrait painting allowed.
He never accepted portrait commission
His sitters were always personal friends and their children or member of his family
He had a special fondness for children
Their portraits have particular warmth and sympathetic understanding
He emphasized individual characteristics
FIRST SEDER, 1928-Reuven Rubin, 1950
Grossman, G. (1995). Jewish Art. New York: Hugh Lauter Levin, p. 302
The Rubin Museum Foundation
Reuven Rubin painted a promised land
His works have a strong architectural sense
The Biblical and Midrashic imagination rules the canvas
There is a Rubin House in Tel Aviv
The “ingathering of the Jewish people” was one of his main tasks in Rumania
In this painting, there are immigrants from various parts of the world
The composition is reminiscent of Leonard’s LAST SUPPER
Rubin reverted to his “naïve” manner of painting
This is a ‘document’ of the period of mass immigration following 1948
There is an Arab in abaya, kaffiya and agal
This is the traditional Arab garments: cloak, headdress, and headband
The figure on the left, with hands marked by stigmata, is mysterious
Is he prophet or messiah?
Jerusalem’s walled city and a range of mountains are seen through arches
This composition is reminiscent of Leonardo’s LAST SUPPER
But this is not a Last Supper, it is a FIRST SEDER
It is a document of immigration after the declaration of the State of Israel
QUARTET IN REHOVOT-Rubin, R., 1951
Oil on canvas. 23 ½ x 32”
Collection Mr. And Mrs. Seniel Ostrow, Beverly Hills, CA
1950-Jascha Heifetz stimulated Rubin to paint musical instruments
Jascha Heifetz was a personal friend who came to Israel to perform
In this painting, the dark shapes of the instruments form a pattern
They are shown in an empty room against a landscape filled with light
Light permeates the room and the whole paintings breathes brightness
It is certainly a summer day and the sound of music lingers on
Rubin returned to this theme many times in the future
MUSICAL INTERLUDE-Reuven Rubin, 1969
Oil on canvas, 25 ½ x 36”
Collection Mr. And Mrs. Edward E Ginsberg, Cleveland and Caesarea
GOLDFISH VENDOR-Rubin, R., 1926
Oil on canvas, 29 x 24”
Collection Mr. And Mrs. Harold Ruttenberg, Pittsburgh
ARAB FISHERMAN, 1928 (previously titled GOLDFISH VENDOR)
Rubin, Reuven.
[Gift of Mr. and Mrs. Harold J. Ruttenberg to the Jewish Museum, NY]
This primitive work is typical of Rubin’s joyous vision of the land of Israel
It also shows the physical vitality of the Arabs.
Rubin pursued a wide variety of subject matter
He expressed some of the local folklore and imbued it with mysticism
His work attempts to capture the spirit of the Orient
His paintings show the influence of Persian miniature figures
Naive painting frequently shows the frontality of the figures
It often has equal apportionment of light across the painting.
1920s his work was viewed as the Eretz Israel painter PAR EXCELLENCE
Haym Nachman Bialik wrote
“Rubin’s Eretz Israel seems to us like a Talmudic legend, the legend of the Land of Israel.”
His work displayed the confluence of different cultures and people
Spring 1952: He left Tel Aviv for New York to prepare for exhibitions
He said he had been a “dollar-a-year” man as a diplomat and wanted to repay debts incurred by this luxury
In November 1952, his daughter Ariella was born
GOLDFISH VENDOR-Reuven Rubin, 1955
Oil on canvas, 42 x 28”
Musee National d’Art Moderne, Paris
Rubin did an earlier version of the same subject in 1926-28
It is interesting to compare this painting with that of 30 years before
The 30-year interval wrought great changes in approach and execution
The position of the subject is almost identical, though reversed
The initial drawing and application of paint is quite different
This one is much more stylized and less realistic
The drawing is much more energetic and the paint more impasto
Imagination is stronger than naturalism
Naivete is replaced by a sophisticated differentiated handling
This ease and grace is the result of concentrated effort and lots of work
1955: Rubin was back preparing for a retrospect at the Tel Aviv Museum
This painting was included
It was later acquired by the Musee National d’Art Moderne in Paris
SHEEP SHEARER-Reuven Rubin, 1955
Oil on canvas, 46 x 35”
Detroit Institute of Arts
1953: Two one-man shows in New York at Grace Borgenicht Gallery: Paintings in May; drawings in December
Acquisition of SHEEP SHEARER by the Museum of Art, University of Arizona, Tucson
GALILEAN FISHERMAN-Reuven Rubin, 1961
Pen and ink, 26 x 20” Drawing for Visages d’Israel, album of twelve lithographs published by Daniel Jacomet
Paris, 1961
This image is part of the series Rubin did
He used the same technical approach
That is, a fluid linear contour outline with light washes of ink
Once again we see the haphazard spots which add spontaneity to the image
DREAMER-Reuven Rubin, 1960
Oil on canvas, 63 x 38”
Collection Einstein Institute, New York
Gift of Mr. M. L. Friedman
This dreamer may have a landscape in his mind’s eye
Or he may be dreaming of the music, which his drum accompanied
Alfred Werner said:
“A striking synthesis of architectural strength and luxuriant color”
He was referred to as “Israel’s greatest living artist”
FLUTE PLAYER-Reuven Rubin, 1959
Oil on canvas 32 x 26”
Collection Mrs. Heinz Kern, Caracas
An earlier painting by the same title was acquired by MoMA, NYC
This strong and vibrant red background repeats the skin color of the flutist
The use of viridian green increases the power of the red hue
With no eyeballs, one may imagine the sound of music as if with eyes closed
STILL LIFE WITH FRUIT-Reuven Rubin, 1941
Oil on canvas, 29 x 36”
Collection Mr. And Mrs. Abraham Feinberg, New York
This painting was done in New York
Cherries replaced the pomegranates in which he took such delight
STILL LIFE ON A PINK TABLE-Reuven Rubin, 1943
Oil on canvas. 22 x 34” Collection Ariella Rubin, Tel Aviv
Between 1940 and 1945, Rubin had six one-man shows in New York
He also participated in the exhibition “Twentieth-Century Portraits” at MoMA
Rubin and Esther’s son David was born in 1945
They returned to Eretz Israel in 1946
POMEGRANATES ON MY WINDOW-Reuven Rubin, 1961
Oil on canvas, 24 x 32”
Collection Mollie Parnis, New York
This painting captures one of the oldest Jewish symbols in their new land
The pomegranate is one of the seven species with which Israel is blessed
This is from Deuteronomy 8: 7-8
They are: Wheat, Barley, Vines, Figs, Pomegranates, olive trees, honey
THIS IS THE LAND-Reuven Rubin, 1962-64
Oil on canvas, 571/2 x 38 ½”
Petit Palais, Geneva
Once again, we see Rubin’s window sill opening to the trees in the distance
On the table top are two pomegranates, one cut in half and one intact
They are the ancient symbol of this land and its abundance
The pomegranate as symbol comes from a number of Biblical citations
Exodus 39: 24 cites pomegranates on the hem of the Priests’ robe
It had bells of pure gold and in between the bells were pomegranates
These were all around the hem of the robe of the High Priest
POMEGRANATES-Reuven Rubin, 1969
Does the scene through the window compete with these pomegranates?
POPPIES IN THE FIELD-Reuven Rubin, 1965
Oil on canvas, 29 x 36”
Collection Mrs. J. Myer Schine, New York
BOUQUET WITH MIMOSA-Reuven Rubin, 1958
Oil on canvas, 40 ½ x 30”
Collection Mr. And Mrs. Raphael Recanati, New York
Some of Rubin’s gayest flower paintings were done during the period
He moved from naturalism to a more symbolic and stylized composition
This particular one has an ephemeral lightness and fluidity
The dark and heavy blocks on the bottom contrast with the color at the top
The repeated shapes of leaves grow lighter as they move higher up
Mimosa is a unique and diaphanous plant, which seems to disappear in air
MIMOSA-Reuven Rubin, 1961
Oil on canvas. 46 x 35”
Collection Israel Museum. Jerusalem
This painting is a fascinating study in the design elements of modernism
the strong rectangular wooden windows and their panes contrast with
The airy effusiveness of the mimosa flowerings
The rigid angular forms play off the curving chair, pitcher and flowers
The dark colors emphasize solidity
The light color contrasts and highlights the ethereal quality of the mimosa
MIMOSA AND BLACK IRIS-Reuven Ruben, 1961
Oil on canvas, 40 x 30”
Collection of Sir Isaac and Lady Wolfson, London and Rehovot
Rubin also painted a different interpretation of a similar subject
Here the black iris take prominence against the fluffy mimosa
The dark curving shapes of the iris repeat the curves of the pitcher
They contrast with the rectangular shapes on both sides and at the bottom
These repetitions and contrasts create an atmosphere
SUNFLOWERS-Reuven Rubin, 1942
Oil on canvas, 39 x 29”
Collection Mr. And Mrs. Leon Gildesgame Mt. Kisco, NY
A California friend recalled visiting his studio in Los Angeles
He said that he saw many “glowing flower works”
SPRING BOUQUET-Reuven Rubin, 1957
Oil on canvas. 29 x 24”
Collection of Sir Isaac and Lady Wolfson, London and Rehovot
Rubin’s flower paintings are the most immediately enjoyable of his works
Flowers are often used as a decorative element of varying importance
Late 1920s: Flowers became a theme in themselves
Rubin said he always reveled in the color, shape, and perfume of flowers
He used them as a main subject only after Esther arrived in the country
He said they would return from outings with bunches of wild flowers
She arranged them in bowls and vases throughout his home
Thus, he was always conscious of their beauty
He delighted in painting poppies, anemones in naturalistic detail
He also painted the mauve-blues of the iris, the blur of gold of the mimosa, the gamut of yellows and reds of the gerbera daisy and the contrast of the white roses to their deep green leaves.
Over the years his handling of flower paintings grew freer, with more emphasis on the vibrance of color than on the shape of individual flower
His flower paintings are a hymn to nature
BIRTHDAY BOUQUET-Reuven Rubin, 1963
Oil on canvas. 40 x 30”
Collection Mr. And Mrs. Harvey Gilston, Luasanne
What a gorgeous and everlasting birthday bouquet of flowers to receive!
Who wouldn’t appreciate such astounding beauty!
The combination of various flowers in a cut crystal vase is breathtaking
And to know that it will last forever makes is unique and very special
Visually, there is a mystery as to the wide and fuzzy black vertical line
Are we voyeurs looking through a window?
One could write a wonderful interpretive story based on this image
WHITE ROSES-Reuven Rubin, 1964
Oil on canvas, 44 x 37”
Collection Claude Geismar, Paris
This is a quieter painting of flowers
The roses are dense with heavy foliage
They do not overpower the composition
Their curving shapes repeat that of the handle of the pitcher
Both components contrast with the vertical rectangle on the left
Is that a window? Or a shutter? Or a cabinet? You decide.
Rubin’s application of paint is rough and painterly
There is no question that this image is made of paint
It is not a photograph!
WHITE LILACS-Reuven Rubin, 1962
Oil on canva. 40 x 29 ½”
Collection Mr. And Mrs. Louis Regenstein,
Atlanta, GA
AFTER THE STORM-Reuven Rubin, 1965
Oil on canvas, 36 x 29”
The Rubin Museum Foundation
Rubin painting THE GLORY OF GALILEE, 1965-66
Oil on Canvas. 75 x 120”
The Knesset, Jerusalem.
THE GLORY OF GALILEE-Reuven Rubin, 1965-66
Oil on Canvas. 75 x 120”
The Knesset, Jerusalem.
Rubin and his wife, Esther in the garden of their Caesarea home, 1966
BOY WITH BOUQUET-Reuven Rubin, 1966
Oil on canvas, 36 x 25”
Collection Mr. And Mrs. Jack Resnick, New York
This painting was shown in his exhibition in Switzerland
SIMHAT TORAH-Reuven Rubin, 1967
Oil on canvas, 32 x 26”
Collection Mr, and Mrs. Leslie Jackson, London
From the mid-1960s: Jewish subjects became a preoccupation
This canvas conveys an ethereal spirituality
The figures are lightly delineated by white contour lines
Pigment is applied in a soft, feathery manner
CROWNING THE TORAH-Reuven Rubin, 1969
PRAYER FOR PEACE-Reuven Rubin, 1967
Pen and ink, crayon, and gouache, 25 x 20” Collection H. Krongold, Toorak, Victoria, Australia
This is a sketch, but it captures the hope and prayer for the future
1964: Tel Aviv, awarded him a prize for a “lifetime’s artistic achievement”
He had been a leading citizen of the city of Tel Aviv for 40 years
PEACE OFFERING-Reuven Rubin, 1967
Oil on canvas, 36 x 29”
Collection Mr. And Mrs. Walter Artzt, New York
This expressive painting came at the end of the Six Day War in 1967
The father carries a white lamb on his shoulder
The mother and child are symbolically grouped together
Rubin made several versions of this, but rarely with such assured serenity.
Rubin feeding doves in Caesarea, 1967
Rubin working in the Garden in Caesarea, 1967
Rubin and his Family in his studio on his 70th Birthday, 1963
This photograph is of Rubin, his daughter Ariella, Son David and wife Esther
They are seated beside a Self-Portrait and other works in his studio
SO I HOPE THAT I HAVE MADE
THE ART OF REUVEN RUBIN (PART 2)
CONTAGIOUS TO YOU TODAY…….