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Yosl BergnerIsraeli Expressionist Yosl Bergner Modernist Lithograph
About the Item
Hand signed in Hebrew Lower right. Dimensions: H 19.5" x 13.5"
Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggadah, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan, who were greatly influenced by Bergner’s haunting images of refugees, hard-pressed workers and the unemployed, for example The Pumpkin-eaters (c. 1940; Canberra, N.G.). Executed in an expressionist mode using a low-toned palette, they were among the first social realist pictures done in Australia. This came from an important collection that included works by Reuven Rubin, Nachum Gutman, Marcel Janco, Moshe Castel, Stematsky, Igael Tumarkin, Menashe Kadishman, Uri Lifshitz, Jacob Agam, Lea Nikel and others. Bergner has works in the Jewish Museum in New York, the Israel Museum in Jerusalem and in numerous others. 1980 Israel Prize with Anna Ticho. Exhibited in Australia in framework of 'Association of Contemporary Art'; participated in group, 'Social Realism'. Retrospective Exhibition: The Tel-Aviv Museum of Art April-August 2001. Prizes: Dizengoff Prize; Israel Prize.
- Creator:Yosl Bergner (1920 - 2017, Israeli)
- Dimensions:Height: 19.5 in (49.53 cm)Width: 13.5 in (34.29 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor crease in lower left corner. please see photos.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38215377932
Yosl Bergner
Yosl Bergner was an Israeli painter who was born in Vienna in 1920 and grew up in Warsaw. With rampant anti-Semitism in Europe, the Freeland League for Jewish Territorial Colonization was formed in July 1935 to search for a potential Jewish homeland. Soon afterwards a pastoral firm offered the League about 16,500 square kilometers in the Kimberleys, stretching from the north of Western Australia into the Northern Territory. As history showed, the plans went nowhere. But for a time, the Australian idea was at least worth considering. Bergner's father, Melech Ravitch, became involved in a serious investigation of the Kimberleys. Thus the Bergner family moved to Australia. Yosl emigrated to Australia in 1937 and studied in the National Gallery School until the outbreak of War World II. He served for four and a half years in the Australian Army, and later continued his studies at the Art School. In Melbourne from 1937-48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd. Adrian Lawlor moved with his wife to a cottage at Warrandyte where they lived for 30 years. Bergner was a frequent visitor at this Warrandyte home. All the men socialized together. Bergner encouraged them to go beyond their traditional landscape style, and he introduced a more radical concern for working families, thus having an important impact on Australian art. Bergner may not have been prepared for the plight of many struggling Australians. Yet he felt a strong connection between the suffering of people everywhere, whether they were the Jews that he remembered from Europe, landless blacks in the heart of Australia or hungry children in inner urban Melbourne.
He left Australia in 1948 and after two years of traveling and exhibiting in Paris, Montreal and New York, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957. Bergner has designed scenery and costumes for the Yiddish and Hebrew Theatres, particularly for the plays of Nissim Aloni, and has illustrated many books. The acme of Bergner's paintings is his allegorical works; he uses kitchen tools such as squashed pots, oil lamps, wrecks and cracked jugs, and he anthropomorphizes them. These old instruments symbolize distorted and poor world of wars, secrets and darkness.
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