Menashe Kadishman

Israeli Pop Art Abstract Cutout Trees Kinetic Gilt Sculpture Menashe Kadishman

c.1970's

Aharon Bezalel (Afghani-Israeli, 1925-2012) Family Grouping Hand signed in with initials in English Figures fit together like puzzle pieces in solid cast bronze with original patina. Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

The width dimensions are variable. the tallest height is 11.5 inches. Family group. A suite of three bronze sculptures. Aharon Bezalel (born Afghanistan 1926) Born in Afghanistan in 1926 and immigrated to Israel at an early age. As a youth was engaged as a silversmith and craftsman, and was a student of the sculptor Zev Ben-Zvi from whom he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. Aharon Bezalel works and resides in Jerusalem, he taught art for many years. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome[…] the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel’s figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman, Mordechai Ardon, Aharon Kahana, Arie Lubin, Yehiel Shemi, Yosl Bergner and others. The graphic arts collection contains drawings and graphic works by Pissaro, Modigliani, Pascin, Chagall (almost all of his graphic work), and numerous other artists. The sculpture collection includes works by Jewish sculptors from all over the world including leading Israeli sculptors; Ben Zvi, Lishansky, David Palombo, Yehiel Shemi, Aharon Bezalel and Igael Tumarkin. Many Jewish sculptors from all parts of the world, beginning with Antokolski, are represented in the collection. In the sculpture courtyard there are works by Chana Orloff, Jacob Epstein (the works he bequeathed to the Museum), Glicenstein, Loutchansky, Constant and Indenbaum from Western Europe; Glid from Yugoslavia; Zorach, Gross and Harkavy from the United States; and most of the outstanding sculptors of Israel : Ben-Zvi, Lishansky, Ziffer, Lehmann, Feigin, Sternschuss, Palombo ( who executed the iron gate...

A suite of 2 sculptures. Lovers, man and woman nestled together. sleek minimalist mod sculpture. polished finish on one side. not sure if theese are stell or aluminium. they are cast and signed in Hebrew with initials and numbered 9/9. It is 2 parts that nest together. Aharon Bezalel (born Afghanistan 1926) Born in Afghanistan in 1926 and immigrated to Israel at an early age. As a youth was engaged as a silversmith and craftsman, and was a student of the sculptor Zev Ben-Zvi from whom he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. Aharon Bezalel works and resides in Jerusalem, he taught art for many years. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. Two poles of unity, potentially alone, exist in Aaron Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in Aharon Bezalel’s figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman, Mordechai Ardon, Aharon Kahana, Arie Lubin, Yehiel Shemi...

Beautiful table top sculpture by renowned Israeli sculptor Menashe Kadishman. Super quality, and visually stunning. it is signed and numbered and dedicated Janet love george Menashe Kadishman was born in Tel-Aviv in 1932. He is a Graduate of St. Martin's School of Art, University of London. From 1947 to 1950, Kadishman studied with the Israeli sculptor Moshe Sternschuss at the Avni Institute of Art and Design in Tel Aviv, and in 1954 with the Israeli sculptor Rudi Lehmann in Jerusalem. In 1959, he moved to London, where he remained until 1972. He had his first one-man show there in 1965 at the Grosvenor Gallery. His sculptures of the 1960s were Minimalist in style and so designed as to appear to defy gravity. This was achieved either through careful balance and construction, as in Suspense (1966), or by using glass and metal so that the metal appeared unsupported, as in Segments (1968). In 1995, he began painting portraits of sheep. These instantly-recognizable sheep portraits...

A pair of Menashe Kadishman small scale artist proof prototypes from the estate of Tamar and her husband renowned Princeton professor Ted (Theodore) Rabb who knew him personally. At ...

This intense and engaging abstract sculpture was create in 1980 by the Italian artist Lino Tinè. This is a multiple of 300 specimens, numbered and signed by the artist. The title is ...

This sculpture is a multiple 1 piece of 1000 realized in 1980 by the well known Italian artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by ...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Tree in Tree Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 125 Size: 41 x 30 in. (104.14 x 76....