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Ben ShahnUntitled (Double sided watercolor) Recto: Figures seated at a tablec. 1960
c. 1960
About the Item
Watercolor on paper
Most probably related to the artist's creation of images surrounding Haggadah (Passover) which he started in 1930 and finished with the publication of his book in 1965.
Note: Many of the illustrations in Shahn’s Haggadah were made around 1930. However, it was not until 1965 that the artist collected the drawings and watercolors together to form the printed Haggadah. Shahn said that the work “reflects my memories of the Passover in my father’s house. It reflects my early impressions and feelings; the images that were always invoked in my fancy by the majestic and meaningful ritual.” The theme of struggle against oppression, which is central to the Passover story, was a common one in Shahn’s work. At the time the Haggadah illustrations were made, Shahn was also working on a set of illustrations depicting the Dreyfus Affair, in which a Jewish Frenchman was falsely accused of espionage and imprisoned for nearly five years in the infamous Devil’s Island penal colony in French Guiana. From 1961 to 1967, Shahn worked on the stained glass at Temple Beth Zion, a Buffalo, NY synagogue designed by Harrison & Abramovitz.
The Haggadah is a Jewish text that sets forth the order of the Passover Seder. Reading the Haggadah at the Seder table is a fulfillment of the mitzvah to each Jew to "tell your son" of the Jewish liberation from slavery in Egypt as described in the Book of Exodus in the Torah ("And thou shalt tell thy son in that day, saying: It is because of that which the LORD did for me when I came forth out of Egypt."
Provenance: Dr. Elmer Kline, New York
Gallery: Gertrude Stein (see invoice)
Dr. Albert A. Holstein, New Jersey
Condition: Front, very good with fresh colors
Study verso: old mat staining from previous framing
- Creator:Ben Shahn (1898-1969, American)
- Creation Year:c. 1960
- Dimensions:Height: 15 in (38.1 cm)Width: 11.5 in (29.21 cm)Depth: 11 in (27.94 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very attractively frame, with a double window (front and back). Ready to hang in your home and enjoy.
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA114331stDibs: LU14013412682
Ben Shahn
Ben Shahn (1898 – 1969) was a Lithuanian-born American artist. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. Shahn began his path to becoming an artist in New York, where he was first trained as a lithographer. Shahn's early experiences with lithography and graphic design is apparent in his later prints and paintings which often include the combination of text and image. Shahn's primary medium was egg tempera, popular among social realists. Shahn mixed different genres of art. His body of art is distinctive for its lack of traditional landscapes, still lifes, and portraits. Shahn used both expressive and precise visual languages, which he coalesced through the consistency of his authoritative line. Shahn is also noted for his use of unique symbolism, which is often compared to the imagery in Paul Klee's drawings. His art is striking but also introspective. He often captured figures engrossed in their own worlds. Although he used many mediums, his pieces are consistently thoughtful and playful.
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In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party
On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later.
Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven".
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Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit.
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As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY).
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