Israeli Modernist Arts & Crafts Copper Lion Plaque Bezalel Schatz Yaad Studio

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Israeli Modernist Arts & Crafts Copper Lion Plaque Bezalel Schatz Yaad Studio
c.1960s

Price:$340

$450List Price

About the Item

Hand made in israel handwrought tray, platter in Silver plated copper modernist tray, engraving and hammer work, with a whimsical mod lion and design decorations. From the YAAD workshop of Bezalel Schatz, son of Boris Schatz. silver plating has been intentionally rubbed off. Schatz lived in Israel, New York, and Northern California where he was part of the Big Sur artists'/writers' colony that included San Francisco sculptor Benny Bufano, author Henry Miller, and his sister Zahara Schatz. Zahara and Bezalel rejected their father's predilection for Romantic Classicism and his dogged development of a Jewish Eretz Israel style in favor of a European-American modernism. Bezalel (nicknamed “Lilik”) Schatz was an Israeli artist, son of Boris Schatz, founder of the Bezalel School of Arts and Crafts in Jerusalem. Born in 1912 to Boris Schatz, and his wife Olga, an art critic. From an early age, he demonstrated considerable talent for gymnastics and music, but especially for art. He grew up in a home in which artists were a constant presence, he was introduced to Israel’s most prominent leaders, and the first public exhibition of his artwork coincided with his Bar Mitzvah celebration. He attended the Gymnasia in Jerusalem and at age 14 completed his studies at the Bezalel School. In 1930, Bezalel joined his father on a fundraising tour of Europe and the United States, where they also exhibited their artwork and that of Bezalel students. Following his father’s death in 1932, Bezalel left Israel for a period of about two decades. He spent the first four years studying at the Grand Chaumiere Academy in Paris. There, given the fairly conservative artistic views he had acquired at home and school – where modernism was denounced – he had to pave his own way as an artist among his peers. Between 1937 and 1951, Bezalel resided in the U.S. Near the end of WWII, he worked in a California shipyard, and it was there he met his future wife, Louise. He was also introduced to the novelist Henry Miller in California, and their friendship blossomed into a creative collaboration. The artist May Ray recorded his observations about the two, noting that “I have never encountered such smooth cooperation…” Bezalel produced silkscreen prints for Miller’s novel, Into the Night Life, an innovation for both the art and publishing worlds. In Florence, New Mexico, New York, San Francisco, and other locations, Bezalel exhibited his own work and participated in group shows with some of the greatest artists of his era – Pablo Picasso, Henri Matisse, Marc Chagall, and Oskar Kokoschka. Bezalel and Louise married in 1948 and moved to Israel three years later, taking residence in the Schatz house in Jerusalem. Despite his long absence from Israel and his conceptual conflicts with artists there, Bezalel mounted several exhibitions and represented his native country abroad – in Germany and at Venice’s 1954 Biennale, for example. Together with Louise Schatz and his sister, Zahara Schatz, he established the arts and crafts workshop, “Yad.” Handmade modernist folk art objects created there today are displayed and sold in a small building on the grounds of the family home on Bezalel Street in Jerusalem. When the Ein Hod artists’ village was founded in 1953, Bezalel and Louise moved to a home designed for them there by Israeli architect David Reznik. The couple melded easily into the village’s Bohemian artistic life, which resembled the lifestyle they had adopted in California. Bezalel was an easy-going, congenial man of whom Henry Miller remarked, “Bezalel is an incorrigible optimist, the greatest optimist I ever met.” After his return to Israel, Bezalel’s most pleasurable moments were in the company of his small family and most intimate friends. He also continued to correspond with his friends in the U.S. He refrained from expressing his intellectual insights, either verbally or in writing, and never attempted to justify his work in any way. He was a productive post modernist artist and craftsman – vigorous, sensitive, and curious – and he contributed significantly to Israel’s aesthetic environment and art. His inspiration flowed from many different sources, from primitive tribes, to Biblical tales, Western art, the nature and history of Israel, and the symbols of his homeland that had also inspired his father. Bezalel’s art work exemplified many different techniques. His early works adhered to the realistic/academic style he learned at the Bezalel art school. Later, his development was influenced by abstract art. His works included sketches, prints, oil painting reliefs, hand made copper engravings, applied art, graphic art, ceramic, and Judaica. In the last decade of his life, his major artistic endeavor was mural design. Among his public works were artwork for ships owned by the Israeli company Zim, the gates at the entrance to the President’s Residence in Jerusalem, and a fence in the courtyard area of the Western Wall. Bezalel died in Jerusalem in 1978.

Attributed to:
Bezalel Schatz (1912-1983)
Creation Year:
c.1960s
Dimensions:
Height: 7.5 in (19.05 cm)Width: 7.5 in (19.05 cm)
Medium:
Copper
Movement & Style:
Modern
Period:
1960-1969
Condition:
Gallery Location:
Surfside, FL
Reference Number:
1stDibs: LU38214258422

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TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

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