222:. During their studies there HaCohen and Solomon printed a pamphlet entitled "Altar Stones," in which they detailed the process of creating a lithographic print. Their decision to import the technique to Israel probably stemmed from their desire to serve as an alternative to the printing house of Back, which for 20 years had held a monopoly in the field of Jewish printmaking. One of the first works printed by the new printing house was "Shoshanta" (1862), the name for a local version of a decorative ornament drawn from European traditions. Along with the descriptions, there were also photographs of places such as the
617:
579:, who immigrated to Eretz Israel in 1933 opened, in what had been the home of Boris Schatz, a painting and printing studio that was a kind of opposition to the "New Bezalel", which was directed by Yosef Budko. After Budko's death in 1940, Steinhardt joined Bezalel's staff and became director of the school's graphics department. During this period, the importance of classical printing techniques, lithography, woodcutting, and engraving as a commercial printing technique became less important, eclipsed by offset printing. However, these techniques were revived through art classes at the school.
447:, Schatz, and others who asked him to purchase a press and lithographic equipment for Bezalel, despite the fact that they did not send money to him. In 1921 Penn himself went to Vienna and purchased a press and accompanying equipment. On this press, Penn printed the series of illustrations for the Bible he created. There is however some disagreement with regard to the printing technique of these works. While Penn declared he used lithographic printing, others declared that it was a type of offset, claiming that Jerusalem presses were unsuitable for use as a basis for lithographic printing.
1052:
House converted its services from printing whole editions to making available the possibility of independent activity and instruction in the use of various techniques. Most of institutionalized artistic activity took place at the
Gottesman Etching Center, which was established at Kibbutz Cabri in 1993, at the Har-El Printers & Publishers print workshop in Tel Aviv-Yafo and at the Jerusalem Print Workshop, which experienced a period of prosperity as a result of the workshop's activity, when it moved to a new business and artistic model in the mid-1980s.
17:
255:
569:
aspired to raise the artistic level of design in Israel, while providing practical opportunities for students to earn a living. This practical approach demonstrated the fact that Hebrew industry (and, to some extent, the Hebrew city) also began to serve as another legitimate expression of
Zionist activity. Therefore, the school, whose first director was Budko, did not open an art track, but rather a track for practical graphics, which was headed by
966:(Yaari) lectured on serigraphy (screen printing) in the exhibition "What is Graphics?" In the Jerusalem Artists House. However, an early example of artistic use of the medium can be found in the book The Jerusalem Hills and all the Anguish (1967) by Malachi Beit-Arie published by Tarshish. The book was accompanied by screen prints created by Myriam Bat-Yosef and printed in a commercial printing press - "Herut Herut Printing Press".
28:
981:, who was commissioned to create a series of print works at the Jerusalem Print Workshop in 1984. Gershuni testified that he had a distaste for the print medium, "especially for screen printing, which in my opinion represented the most extreme form of graphic art." However, his works in this technique, including "Avinu Malkeinu" (1984), "Justice and Charity" (1984), and others, enjoyed both artistic and commercial success.
1091:
Imprint: Twenty Years with the
Jerusalem Print Workshop, Jerusalem, marking the 20th anniversary of the Jerusalem Print Workshop. Among the other museum exhibitions are Portfolios from the Gottesman Etching Center, Kibbutz Cabri (2006) at the Israel Museum, Etchings (2006) at the Negev Museum of Art and Print Time, Works from the Jerusalem Workshop and the Gottesman Center (2013) at the Open Museum, Tefen.
958:, who studied this technique at Burston, imported this printing technique to the print workshop at the Artists House in Tel Aviv and the College of Visual Arts in Beersheva. In her independent work she combined the technique of lithography with other techniques such as screen printing and etching. To a great extent, this technique died out in the early 1990s, with the closure of the Burston Center.
1033:
492:
397:
1708:
637:
66:
178:. However, various illustrations were sometimes included. These illustrations were created using woodcut, wood engraving or metal engraving techniques and were limited by the size the print. Most of the decorations were assigned to the title page of the book. This page usually consisted of a decorative frame created from a print or image of the
327:. The book described the process of printing etchings, interspersed with illustrations by Struck. Because of the popularity of the book, which appealed to both artists and to the public as a whole, it was printed in four additional editions between 1912 and 1923. The book established Struck's fame as a leading artist in the print industry.
271:
1048:
manual design. The use of these methods also led to the perception of the art print industry as archaic. This led to the closure and reduction of many print workshops during the 2000s. Among other things, the workshops of the
Faculty of Arts - Hamidrasha at Beit Berl College were closed, and Bezalel's work was greatly reduced.
764:, for example, added to his woodcuts, such as "The Bride", textures printed from fabrics and chains, which sought to enrich the texture of the print, and to deepen its realism. In addition, the shortage of materials available in Israel led many artists to use other techniques that were available to them, such as
917:
albums were also produced that combined 5-10 works by a single artist or by a group of artists. This commercial development led several galleries to continuously produce series of prints for artists, which were printed in the various workshops. The major ones included the Bineth
Gallery in Tel Aviv and the
1692:
The works of the artist include
Kaddish (Jaffa: Har-El Printers and Publishers, 1997) by Moshe Gershuni , Death Fugue by Paul Celan (Jaffa: Har-El Printers and Publishers, 1995)) by Yigal Tumarkin (and other works he created in this workshop), the folder of prints of Ofer Lellouche from the Gottesman
1489:
chose to work in the area of prints in those years, such as Yigal
Tumarkin and Uri Lifshitz, participated, but the exhibition chose to present works in a more avant-garde style: On the subject of this exhibition, see: Galia BarOr and Hayuta Bahat: Paintings (Ein Harod: Museum of Art, 2013), pp. 13-15.
953:
From a technical point of view, the flourishing of lithography technique particularly stands out during this period. The main development of the technique in Israel during this period can be credited to the work of the
Burston Graphic Center, which in its first year trained artists in this technique.
1441:
Newer techniques, which would come to be identified with postmodernism, began to enter the industry in Israel in the late 1950s. In Israel, for example, a silk printing was used. See: "Institute for the
Preparation of Professional Study Materials is Established,"Sha’arim, 24 December 1956; And also:
1403:
See: Arik
Kilmanik, "Setting Up a Print Workshop", in: The Printer’s Imprint: Twenty Years of the Jerusalem Print Workshop (Jerusalem: The Israel Museum, 1994), p. 9; also: "A Conversation with Arik Kilmanik", in: Prints from the Collection of the Jerusalem Print Workshop (Jerusalem: Jerusalem Print
1090:
Although Israeli museums continued to purchase prints, exhibitions in major galleries in Tel Aviv-Yafo or museum exhibitions of Israeli prints were unusual, and even the inclusion of prints in group thematic exhibitions was very small. In 1994, the Israel Museum mounted the exhibition, The Printer's
1047:
In the early 1990s, "new media art" began to develop, using visual images created by "technical reproduction" without the need to use a manual process of creating print plates and manual printing. The use of computer graphics and digital media, which developed during this period, completely replaced
961:
In contrast to the lithography and etching techniques, the screen printing technique (or "silkscreen printing" as it was called at the time) was perceived as a secondary technique, mainly because it lacked any artistic tradition. Art in Israel began using industrial techniques in the late 1950s, but
903:
An example of the rising popularity of the medium could be found in the activity of the Israeli Graphotek, which in 1978 had not yet opened its doors to the public, but had already collected about 1300 works by 105 different artists. By the 1990s, Graphotek had already collected about 4,000 works by
863:
During the 1970s and 1980s, the printing industry underwent a period of unprecedented development in Israel. A variety of print workshops made it possible for artists to create works using various techniques in this medium. A number of artists began to work in prints and in preparing printing plates
439:
himself testified in 1917 that the school had equipment to "make experimental leaves," but that "we do not have a printing machine." In addition to the artistic endeavors, the department also did commercial work such as printing textbooks and other materials, such as lottery cards designed by Shmuel
318:
in Berlin, and exhibited consistently until 1913. Along with landscapes, Struck created portraits and genre descriptions of Jewish life, particularly in Eastern Europe. He did this in a variety of print techniques such as lithograph and etching. Over the years he published several files of prints as
1488:
See: Tatspit (Tel Aviv: Tel Aviv Museum of Art, 1964). Tazpit - an acronym for an Israeli painting and sculpture exhibition - was an exhibition organized by a group of artists who wanted to create an exhibition of young art that was free of institutional pressures. In this exhibition, artists who
582:
During the 1940s a small community of artists, who engaged in graphic techniques, including artistic prints of various kinds, was established around the "New Bezalel." A comprehensive view of their works shows the strong influence of German culture on everything connected to the cultural tradition
564:
in the 1920s and 1930s and the need to create uniform and clear terms for the various print terms. The dictionary of Narkis, dedicated to Hermann Struck on the occasion of his 60th birthday, was based on the German language, whose terms are "most common among the graphic artists living in Israel."
1518:
Eyal was mainly engaged in experimental printing and in printing prints in small editions. See: Sanford Sivits Shaiman, Prints from the Avishay Ayal Etching workshop 1972-1975 (Haifa: University of Haifa, 1990); Gideon Ophrat, 100 Years of Print Art in Israel (Jerusalem: Jerusalem Print Workshop,
908:
described the growing popularity of artistic prints during those years in Israel and around the world. Baruch distinguished between the reproduction of old works to the medium of the print, and works of art that made critical use of the various techniques of the medium. In addition, attempts were
667:
to Jewish immigration led to a large population that began to be educated according to the tradition of the young field of the Israeli print, led in these years by Jacob Steinhardt in the new Bezalel. Many of the youngsters who came to Eretz Israel after the Holocaust either under the auspices of
466:
During the 1920s, the influence of modernist art was evident among some Bezalel students who continued their studies in Europe or were exposed to contemporary art. These were works that established an artistic opposition to the school that expressed the spirit of the period of the Tower of David.
123:
in 1841 and transferred to Jerusalem in 1841. Bak worked with presses and tools for casting letters he brought with him from Europe. The first press was a wooden table-shaped press, a heavy metal plate laid on the paper undergoing the printing operation. In 1842, Bak received the printing presses
1508:
Between 1970 and 1971, Givati worked at a silk-printing workshop at his studio in Haifa, where he created works in the wake of Yitzhak Danziger's "Nesher Quarry" project. In addition, he printed works for artists such as Michael Gross, Shmuel Katz, Zvi Mairovitch and others. From 1974 to 1982 he
1422:
While in the United States offset printing in the 1950s and 1960s became the main printing technique, the use of this technique in industry began only in the late 1950s. According to Eric Kilmanik, one of the first to engage in non- industrial printing was the daughter or granddaughter of Martin
1082:
An area that began to develop during this period is the production of "artists’ books" - books that combined text - mostly poems - with prints created specifically for this book. Such books replaced folders of prints that artists had previously published as a portfolio. The books were printed in
1051:
The activities of professional workshops were also reduced, and they stopped producing works in large editions and went on to print works in editions of only 12-18 copies. The Burston Center workshop was closed in 1990 after management problems, while the Printmaking Workshop of Tel Aviv Artists
916:
Many artists adopted the medium as another technique in their work, a technique of a more commercial nature. Usually prints were produced in editions of between 30 and 150 copies. Some of the works were intended for the international market, especially for the United States. In addition, various
850:
In 1965, the printing workshop of the Artists House Tel Aviv opened under the auspices of the Israel Painters and Sculptors Association and was managed by Tuvia Beeri. The workshop gave artists for the first time a place of work to create works using engraving techniques. At the same time, Beeri
607:
and others, we see an attempt to combine European style with characteristics of the local Eretz Israeli reality and Zionist motifs and themes. This was often accompanied by the adoption of biographical-psychological features, which were largely missing in the works of historic Bezalel's artists.
297:
in Europe. The artists who came from Germany in the 1920s and 1930s, already experienced artists with a standing in the print industry, contributed most to the development of this medium in the Eretz Israel. Another central milestone in the development of this concept is the establishment of the
568:
A review of these documents reveals that the term "graphics" included both the artistic print and the graphic design field. This mixture would remain a guiding principle in the school of "New Bezalel School for Arts and Crafts" which was opened in 1935 in Jerusalem. The curriculum of the school
526:, in which many artists came to Eretz Israel and Jerusalem. These artists, persecuted by their countries of origin in Germany and Austria, sought to continue the spirit of European modernism in general and the heritage of German art movements such as Bauhaus and Expressionism in particular.
420:" and his work expressed the main Zionist national outlook at the time. Lilien was also in the habit of taking photographs from which he would create his drawings and prints. Despite the fact that he lived only a short time in Jerusalem, his style influenced Bezalel's main style of design.
241:
printing technique. Among other things, it created prints of up to half a sheet (50x70 cm), from the works of artists such as Rozin, Moshe Ben Yitzhak Mizrachi, and others, who also began to make use of photographs created using the lithographic technique, The photographs were converted to
1007:
combined several print plates made using the technique of photographic etching, on which he combined drawing and dry etching. The plates were combined in a collage, cut and twisted to give them an expressive character and to create negative spaces in the composition. Artists such as
872:, who worked primarily in the medium of etching, set up a separate studio in Jerusalem. However, the establishment of the large workshops made the independent activities of these artists somewhat redundant. Itche Mambush founded another workshop in the 1960s in Ein Hod, directed by
237:(he: דפוס א.ל. מונזון), which began operations in 1892. The printing house began operating with a hand press and in 1894 brought an automatic machine from Europe that could produce about 1,000 pages per hour. A major part of the work of this printing press was the use of the
716:
Basing themselves on the local tradition and ethos of Paris as the capital of world art, many artists continued to travel to pursue art studies in France and Europe, unaware of the change in the world art scene and the development of the United States as an art center.
345:
depiction, as Struck did, but also as a spiritual expression. Part of the change stemmed from the influence of expressionism on these artists. For Steinhardt, for example, this effect was expressed in a theatrical atmosphere rich in pathos and grotesque expressions.
1498:
However, the latter two were not printed directly from the printing board, but were transferred to print using a photographic method, which was more suitable for larger editions. See: Ada Vardi, Spitzer: Chapters and Tarshish (Tel Aviv: Tarshish Publishing,
925:
Unlike most of the artists who worked in the field, in the 1970s and 1980s, a group of artists continued their avant-garde activities concerning everything related to the examination of the artistic object, including in the medium of print. Artists such as
1591:
Igael Tumarkin , for example, who has created over 300 different prints, published several bound albums, including "Paraphrases on the Polyhedron" (1972), " Self Portrait 1975 " (1975) and " Battle of the Blind Men and the Sow- Heinrich von Kleist
1460:
Zvi Zohar and Eugen Kolb, The Israeli Graphic, (Ha-Kibbutz Artzi, Merhavia: Sifriat Poalim, 1960), p. 9. Another textual review of the Israeli print and drawing artists appeared in the book The Art of Israel (Jerusalem: Massada, 1963) by Benjamin
533:, quoting images drawn from artists such as Struck, Lilien, Budko, Steinhardt, and others, who reflected the worldview of the creators of the artistic print, and whose images could at that time easily pass from private to nationalistic art.
1291:
His letters are in the custody of his daughters in Jerusalem. Copies of them are in the Information Center for Israeli Art. A small notebook with documentation of his studies in Vienna was donated by his daughters to the Jerusalem Print
458:
established the Industrial Art Studio (he: בית עבודה לעבודות אינדוסטריאליות) and Graphica Press which printed posters of a limited size and various prints in the Jugendstil style. Another artist who worked in the field independently was
946:(1983), the artist reconstructed his sculptural activities and converted them into the print media, creating a confrontation between nature and culture. A unique preoccupation with the surface of the print is also found in the works of
699:
taught the art of the wood cut and sculpture. A large group of artists were influenced by his approach to art, that combined animal images in a "primitive" style with a modernist ethos of creativity. This group included artists such as
779:
The artistic print field to which these students were exposed upon their return to Israel was very limited. Not only were there no places to print editions of artistic prints, it was also considered a secondary art. In the 1960 album
1601:
Jerusalem Print Workshop , for example, printed in 1977 an album entitled "Jerusalem", with the prints of five artists ( Michael Gross ,Liliane Klapisch , Moshe Kupferman , Ivan Schwebel and Menashe Kadishman ), in an edition of 200
977:. Tolkovsky also taught at the Artists House in Tel Aviv, where screen printing was used as part of a variety of techniques such as calligraphy. An expression of the ambivalent status of the screen print can be found in the work of
708:
and others. Some training in the technique of lithograph printing was provided by Cohen, who operated the Hebrew University Press in Jerusalem. Most of the artists printed their works in his studio, or with local artists, such as
1152:
This press was sold by Bak's son to the Zuckerman Printing Press (see, Joseph Olitzky, The Art of Printing, p. 37, 53-54). The press was later moved to the Levin-Epstein Press and is housed today at the Interdisciplinary Center
921:
in Jerusalem. The popularity of the print also led to the printing of signed and numbered posters by artists or the production of prints based on the works of deceased artists, by inscribing their signature on the plate.
1087:(1987) by Moshe Gershuni, and in 1989 the workshop created a series of 9 artists’ books in an edition of 40 copies each. Due to the high cost of producing such books, most of the works were printed for renowned artists.
357:
parts, both because of his inability to produce these etchings and as an expression of the influence of the light in Palestine, which he expresses in the contrasting blacks and whites characteristic of this medium.
973:, who returned from art studies in the United States and learned the technique there. At the end of the sixties, Tolkovsky returned to Israel and, in 1969-1969, a workshop for printing and screen printing at the
79:
The first printing press in the Land of Israel, and all of Western Asia, was established in Safed in 1577 by partners Eliezer and Abraham ben Isaac Ashkenazi (apparently no relation). The first book printed was
938:, and others emphasized the plastic nature of the paper by using various artistic means such as repetition and seriality, or by emphasizing the print plate as an object, or by folding and distorting the paper.
1638:
See: Mordechai Omer, Tikkun (Tel Aviv: The Genia Schreiber University Art Gallery,1998), p 182. Also: Gideon Ofrat, 100 Years of Printmaking in Israel , Jerusalem Print Workshop, Jerusalem, 2015 , pp. 187-186.
1479:
Among the exhibitors were Hedwig Grossman (1), Hanna Pfizer (1), Jacob Pins (2), Arieh Rothman (2) and Shoshana Resnick (1). See: General Exhibition of Israeli Artists 1963 (Tel Aviv: Tel Aviv Museum, 1963).
1083:
limited editions and numbered in etching or screen printing techniques. As early as the 1980s, the Jerusalem Print Workshop began printing such books. Among the best known are Thirteen Etchings for Poems by
206:
and the Tombs of the Kings with the addition of hand-painted and hand-stamped seals. In many cases, these illustrations were reused for different purposes and even shared by different printing houses.
443:
In 1919 Yisrael Hirschfeld, a student of Bezalel in 1915–1917, was sent to Vienna to learn the art of lithograph printing. Throughout his stay there, he exchanged letters with Bezalel teachers like
1261:
Boris Schatz, "A Proposal to Strengthen and Distribute Craftsmanship in Jerusalem and Eretz-Israel in General," in Shilo-Cohen, Nurit, Schatz's Bezalel, (Jerusalem: The Israel Museum, 1982), p.178.
1674:
Digital media accompanied by a theoretical study which adopted the essay of Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction " (1936-1938) as a fundamental theoretical text.
1328:
See: Gideon Ofrat, The New Bezalel: The Bezalel Academy of Art and Design (Jerusalem, 1987), p. 26; also: Yigal Zalmona, 100 Years of Israeli Art (Jerusalem: The Israel Museum, 2015), p.102.
182:. In addition, the printing houses produced decorated certificates, "Mizrach" plaques , etc. Some of the printing blocks were made by the printing house itself and others were commissioned.
996:, David Ben-Shaul, were drawings, created using traditional techniques as etching and aquatint. In addition, there were also artists who incorporated new techniques in their works, such as
713:, who had specialized in lithograph printing in Paris. Upon his return to Israel in 1963, he brought a lithographic press and printed works for various artists in his studio in Jerusalem.
293:, at the beginning of the 20th century, art became more prevalent in modern Hebrew culture. Expressions of Judaism also began to gain national significance, following the expansion of the
1171:
See Gil Gordon, "'The best one in the Black Art: The Print-shop of Schneller's German Protestant Mission in Palestine in the late Ottoman Period'," Cathedra 138 (2010): 83-110.
984:
However, the bulk of the prints were done using various etching techniques. These works were figurative in character and expressive in language. The works of artists such as
1656:
Despite the influence of American art, the photograph was not perceived at the time as an independent artistic object, but mainly used as documentation of artistic activity.
772:. Even Rudi Lehmann, despite his strong connection to artistic tradition, experimented with the use of new materials. He was one of the first artists to create woodcuts on
1582:
The number of copies of the edition is dependent on technique. Silk prints or lithographs were printed in large editions. In some cases, about 250-300 copies were printed.
475:
and others created expressive etchings and, particularly, woodcuts. Among these works is a series of prints called "The God Seekers" (1923; he: מבקשי אלוהים), created by
529:
In addition, the art of the time reflected in many ways the construction of Zionist national consciousness. An example of this can be found in stamps issued by the
365:
in various print techniques for various Hebrew publications that were published in Europe at the time. Among these are the woodcuts that Steinhardt created for the
522:
In the 1930s, the printing industry began to take on greater importance in the field of Eretz Israeli art. The development of the field was closely linked to the
691:
Apart from the technique of the woodcut, that could be studied at Bezalel, there were not many places that trained artists in the various print techniques. In
815:
However, at the same time the print was perceived in various circles as an expression of "good taste." An example of this can be found in the publications of
128:. Its area of print was 85 cm long and 57 cm wide. The first book printed by Beck in Jerusalem was "Seder Avodat Hakodesh" (he: סדר עבודת הקודש) by
1665:
Larry Abramson,, "A Conversation with Gershuni, " in Gershuni in the Jerusalem Print Workshop (Jerusalem: Jerusalem Print Workshop, 1984, unnumbered pages.
384:’s And the Crooked Shall Be Made Straight (1919), as well as his prints for the 50th edition (Berlin: Hovevei Ha-Shir Ha-Ivrit, 1923) of the writings of
1629:
See: Gad Ullman, "Gray Market Prints: Original Prints, Reproduction, and Everything in-between", Studio, Art Magazine, Issue No. 12 (June 1990), pp 4-7.
540:
to works in the various print fields. Other examples of the growing importance of the field can be found in an article published on 20 October 1935, in
616:
1319:
See: Gideon Ofrat, ed., One Hundred Years of Printmaking in Israel (Jerusalem: Jerusalem Print Workshop, 2015), pp. 14-15, in particular pp. 208-205.
819:, who commissioned illustrations for publications by Tarshish Publishing House that were done using various print techniques. Among these works are
1509:
lived in New York, where he made a living by working in real estate, alongside his work as an artist in a workshop he opened with Arieh Moscovitch.
440:
Haruvi. Most of the lithographic work at Bezalel included realistic prints of portraits and genre descriptions, as well as a few commercial works.
1024:" (1984), for example, Moshe Gershuni created a tangle of symbols and images that expressed a complex position toward Judaism and the Jewish God.
479:, and the series of prints "Jaffa" (1925) by Israel Paldi. Late recognition was given to the series "Gray Tura" (1924; he: טורא אפורה) created by
1423:
Buber, who set up an offset printing workshop in her home, where Kilmanik created a poster for a folk dance evening at the Bezalel Student Union.
107:
The modern printing industry in Israel goes back to the second half of the 19th century, when a number of printing houses were established in
864:
for other artists in their studio. Moshe Givati established a printing workshop in Haifa that dealt mainly with screen printing technique.
752:
The French and German influences led to the adoption of modernist techniques, such as Aryeh Rothman's use of the photographic technique of
1310:
See: Gideon Ofrat, "Lilien and the Tradition of the Jugendstil in ‘Bezalel’", in: On the Land: Eretz-Israel Art: Pirkei Avot, pp. 211-197.
812:
1964, which was perceived as more artistic at the time, Tuvia Beeri was the only artist among more than 30 artists who exhibited prints.
804:(1965), in order to expose the field to visitors to the museum. Therefore, it is no wonder that in the annual general exhibition of the
1301:
Yigal Zalmona, The Art of Abel Pann- From Montparnasse to the Land of the Bible, (Jerusalem: The Israel Museum, 2003), p. XIV-XV.
950:, who created prints using techniques of stress. Her paper-making business led her to make use of the paper produced by the business.
409:
299:
164:
152:
1162:
See Yona Fischer, ed., Art and Craft in the Land of Israel in the Nineteenth Century (Jerusalem: The Israel Museum,1979), p. 188-189.
974:
1180:
See Yona Fischer, ed., Art and Craft in the Land of Israel in the Nineteenth Century (Jerusalem: The Israel Museum,1979), p. 49-51.
852:
1189:
See Yona Fischer, ed., Art and Craft in the Land of Israel in the Nineteenth Century (Jerusalem: The Israel Museum,1979), p.184.
435:. However, the print quality was poor and was not suitable for producing large editions, mainly due to the technical equipment.
1198:
See: Inspiration and Implementation: The Story of the Salomon (Zoref) Family (Jerusalem: The Ari Synagogue, 2011), p. 10- 11.
888:
was established in Jerusalem. The workshop was established as a public benefit company and was initially associated with the
557:
909:
made to mount systematic displays of prints. In 1978, the exhibition "30 Israeli Artists: Artistic Prints" was presented at
573:(Dayan). The department dealt mainly with lithograph printing, which was the most popular commercial technique at the time.
942:, for example, made use of plates printed on entire sheets of paper in 1980, leaving him with negatives. In the works of
1728:
746:
111:. These printing houses dealt with the printing of texts in which various artistic images were incorporated. The first
210:
The first use of the technique of lithograph printing was at the Salomon Printing House (he: דפוס סלומון), founded by
187:
1712:
190:, for example, created some of the printing blocks for his printing house, while others were created by artists like
1451:
The Heliograveur is a form of photogravure that dates back to the 19th century and is used to reproduce photographs.
881:
889:
734:
660:
16:
416:, one of the leading illustrators in Europe, arrived in Jerusalem. His artistic style derived from the European "
1555:
See: The Graphotec Notebook, Alima File (Jerusalem: The Information Center for Israeli Art, The Israel Museum).
1528:
See: Meira Perry-Lehman, Curator, Israeli prints from the Burston Gallery, (Jerusalem:The Israel Museum, 1981).
254:
234:
156:
129:
885:
1693:
Etching Center, and "TheTrue Rose of Jericho" (Jerusalem: Jerusalem Print Workshop, 2003) by Larry Abramson .
913:, and during the 1980s, attempts were made to establish a triennale for graphics at the Haifa Museum of Art.
793:
561:
591:, and Jakob Eisenscher, as well as in the works of artists who worked independently of this group, such as
1234:
See: Gideon Ofrat, ed., 100 Years of Printing in Israel (Jerusalem: Jerusalem Print Workshop, 2015), p.11.
536:
The opening of the Tel Aviv Museum, in 1934, was accompanied by the dedication of one of the two halls of
183:
160:
195:
1117:
1013:
873:
596:
424:
45:
beginning in the second half of the 19th century. The genre includes a variety of techniques, including
1143:
See Joseph Olitzky, The Art of Printing, (Hadera: Museum of Printing Art and Hadera Paper, 1973), p. 37
1020:, used this expressionism as an expression of symbolism or metaphysical content. In the famous series "
349:
Between 1907 and 1935, Steinhardt created about 250 etchings, but in Palestine he began to work in the
1373:
See: Gideon Ofrat, The New Bezalel: The Bezalel Academy of Art and Design (Jerusalem, 1987), p. 72-83.
1252:
See: Amishai-Meisels, Ziva, Jacob Steinhardt: Etchings and Lithographs, (Tel Aviv: Dvir, 1981), p. 18.
1064:
904:
about 200 artists and was accessible to the public in six centers around the country. In a 1975 list,
701:
503:
428:
1738:
1733:
865:
824:
820:
808:
of 1963, for example, only 7 artistic prints were displayed out of 375 works. Also at the exhibition
710:
549:
530:
413:
175:
1364:
Mordechai Narkis, Dictionary of Graphic Terms, (Jerusalem: Bialik Institute Publishing, 1937), p. 5.
993:
499:
1084:
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The shrinking of the field led most of the major artists who worked in the print industry, such as
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455:
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See: Gideon Ofrat, The New Bezalel: The Bezalel Academy of Art and Design (Jerusalem, 1987), p.26.
1243:
See One Hundred Years of Printmaking in Israel (Jerusalem: Jerusalem Print Workshop, 2015), p. 66.
1068:
869:
788:
wrote that "exhibitions of graphics only are considered (unfairly!) for less important exhibits."
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427:(Gershuni). This department printed a limited number of artistic works, mainly by artists such as
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See: Etchings of Songs: Nine Files of Etchings and Poems , on the Jerusalem Print Workshop site.
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401:
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lithographs in a process that included the use of the technique of etching and transfer paper (
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659:, apart from several expressions of nationalism and the development of iconography around the
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1000:, who combined in works such as "Mr. Rabinovich" (1968), etching with photographic etching.
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625:
600:
576:
553:
377:
330:
315:
294:
203:
145:
125:
89:
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See: A.L. Monsohn Lithographic Press,1892-1992, (Jerusalem: The Ari Synagogue, 2009), p. 2.
900:. In addition, several other printing houses published in the field of artistic printing.
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897:
588:
537:
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before settling in Safed, and the press apparently shut down following his death in 1587.
42:
1110:"Early Hebrew Printing from Lublin to Safed: The Journeys of Eliezer ben Isaac Ashkenazi"
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and others, to perceive the medium as secondary in their work. However, artists such as
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See: Adam Baruch, "The Israeli Print (Cut)" Musag , Issue No. 5, (October 1975), p 42.
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and the "invention" by others of various artistic techniques (in the spirit of late
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The most significant development in the use of art technique can be attributed to
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See: Rachel Angel, "The Register - in Seventy Languages," Maariv, 16 January 1976
1647:
Ada Vardi, Spitzer: Chapters and Tarshish (Tel Aviv: Tarshish Publishing, 2015).
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376:(Berlin: Ferdinand Auster, 1923), accompanied by a calligraphic text created by
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See: Benjamin Tammuz, "They Returned from Paris," Ha'aretz, 17 December 1951.
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in 1948 does not constitute a significant historical point in the history of
1337:
See: We Shall not Forget You, Exile (Jerusalem, Jewish National Fund, 1945).
179:
108:
1385:
See: Gideon Ofrat, ed., One Hundred Years of Printmaking in Israel C p. 70.
396:
1707:
1620:
Produced prints for artists such as Moshe Castel and Anna Ticho and others
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Rachel Angel, "The Engravings of Johnny Friedlander," Maariv, 28 May 1976.
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688:, among others, became prominent Israeli artists in the 1950s and 1960s.
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set up another public print workshop - the Burston Graphics Center - in
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The most prominent Jewish artist in the European printing industry was
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Produced prints for artists such as Lillian Clapisch , Fima and others
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1043:. Soft-ground and spit-bite. Printed by the Jerusalem Print Workshop
1004:, for example, in the print "Pieta, Pierre Paolo Pasolini," (1979).
560:. The publication of the dictionary reflected the activities of The
270:
1394:
See: Gideon Ofrat, ed., One Hundred Years of Printmaking in, p. 71.
1109:
544:, entitled "The Question of Hebrew Graphics" and the printing of a
423:
In 1909, a lithography department was opened at Bezalel, headed by
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745:(1965–1961), where she studied various printing techniques at the
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technique. In the center is an image of a two-column gate in the
120:
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26:
15:
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until the 1970s it was not widely used in art. As early as 1949,
233:
Another printing press that was known for its artistic works was
124:
nicknamed "Massat Moshe and Yehudit" (he: משאת משה ויהודית) from
1573:
See: Talia Rappaport, "50 years of prints," Davar, 23 June 1978.
647:. Etching and aquatint. Printed by the Jerusalem Print Workshop
463:, who printed etchings in a workshop in his home in Jerusalem.
400:
Bezalel Jerusalem, Lithographical Establishment, Photograph by
148:
leaf. The page is framed with an ornamental flower patterns.
483:
in Europe, which was displayed in Israel only in the 1990s.
1546:
Rachel Angel, "The Israeli Graphotec," Maariv, 2 March 1979
1346:
See: "Etchings Exhibitions," Doar Hayom , 28 January 1934.
792:, curator of the Department of Prints and Drawings at the
361:
Along with their independent works, the two also created
319:
a book, but Struck's most famous and successful book was
880:
founded a commercial print workshop that would become
323:(The Art of Etching), published in Berlin in 1908 by
1470:
What is a Print? (Jerusalem:The Israel Museum,1965).
583:(Bildung). In the prints of these artists, such as
289:' perceived art as a religious art that served the
155:St. James Printing House were founded in 1833; the
1442:"The World of Printing," Davar, 24 September 1959.
632:. Woodcut, Printed by the Jerusalem Print Workshop
174:Most of these printing houses produced texts in
1209:"ראשיתו של הדפוס העברי בארץ ישראל / שושנה הלוי"
198:was printed using three blocks depicting the
37:refers to printmaking by Jewish artists in the
668:Youth Aliyah, or with their families, such as
159:printing house in 1846 under the direction of
8:
167:in 1853 and a printing house in 1885 at the
132:.The title page is decorated with a hybrid
725:in 1959, and later studied in Paris at the
380:, and the lithographs created by Budko for
868:, printed using lithograph technique, and
806:Israel Painters and Sculptors Association
1404:Workshop, 1984), p. 4 (no page numbers).
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1100:
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151:Christian printing houses such as the
404:. Jerusalem Print Workshop collection
7:
721:, for example, went to study at the
839:(1958) and the woodcuts created by
651:The establishment of the State of
410:Bezalel Academy of Arts and Crafts
300:Bezalel Academy of Arts and Crafts
115:printing house was established by
14:
1108:Heller, Marvin (1 January 2001).
975:Bezalel Academy of Art and Design
1706:
518:at Cafe Ta'mon, Jerusalem, 1940s
119:(abbreviation of Baal Koreh) in
72:title page, woodcut, printed by
851:opened another workshop at the
218:, who learned the technique in
165:the Greek Orthodox Patriarchate
882:Har-el Printers and Publishers
800:, had to publish the booklet T
408:With the establishment of the
1:
890:Jerusalem Artists Association
831:(1942) and the engravings of
548:of Graphic Arts published by
306:Hermann Struck and successors
747:Academy of Fine Arts, Munich
741:, however, went to study in
450:Alongside Bezalel, in 1923
188:Monsohn Family of Jerusalem
1755:
663:. However, the opening of
558:Hebrew Language Committee
285:While the people of the '
266:. Etching and soft-ground
230:, the Western Wall, etc.
886:Jerusalem Print Workshop
235:A.L. Monsohn Lithography
163:; the printing house of
130:Chaim Yosef David Azulai
794:Bezalel National Museum
735:Académie des Beaux-Arts
562:Bezalel National Museum
321:Die Kunst des Radierens
140:, bearing a decorative
92:. Eliezer, a native of
1125:Cite journal requires
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866:David (Dedi) Ben Shaul
829:Between Star and Grass
768:, as a substitute for
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302:in Jerusalem in 1906.
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84:, a commentary on the
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24:
1275:"המחסן של גדעון עפרת"
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802:he Print: What Is It?
782:Graphic Art in Israel
661:1948 Arab–Israeli War
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433:Ya’akov (Jacob) Stark
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70:Seder Avodat Hakodesh
68:
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1715:at Wikimedia Commons
729:engraving workshop.
531:Jewish National Fund
414:Ephraim Moses Lilien
194:. The "Shiviti" by
184:Abraham Leib Monsohn
176:Letterpress printing
161:Sebastian Pratschner
1729:Printing by country
1279:המחסן של גדעון עפרת
1085:Haim Nachman Bialik
911:Tel Aviv University
727:Johnny Friedlaender
665:Mandatory Palestine
622:Heinrich von Kleist
386:Hayim Nahman Bialik
196:Shimon Israel Shane
169:Schneller Orphanage
35:Israeli printmaking
1045:
1014:Asaph Ben Menachem
874:Ora Lahav Shaltiel
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620:From Woodcuts for
597:Paul Conrad Henich
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425:Avraham Gershowitz
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392:1906–1930: Bezalel
382:Shmuel Yosef Agnon
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212:Yoel Moshe Salomon
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1711:Media related to
944:Menashe Kadishman
940:Pinchas Cohen Gan
341:, not only as an
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626:Michael Kohlhaas
601:Abraham Goldberg
577:Jacob Steinhardt
554:Bialik Institute
504:Isidore Aschheim
467:Artists such as
429:Shmuel Ben-David
378:Franzisca Baruch
331:Jacob Steinhardt
295:Zionist movement
275:To the Synagogue
126:Moses Montefiore
90:Yom Tov Tzahalon
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892:. In 1975, the
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825:Yitzhak Shenhar
821:Avigdor Luisada
733:studied at the
723:Académie Julian
711:David Ben Shaul
695:and Jerusalem,
628:(1953/2003) by
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552:in 1937 by the
550:Mordecai Narkis
538:Tel Aviv Museum
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461:Jacob Eisenberg
402:Ya'acov Ben-Dov
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369:(1924) and the
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224:Tomb of Absalom
88:by 18 year old
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