640:. The conflict between the orientalist dimension and the universalist dimension can be felt in his early works. Later he came to concentrate on the latter and even to fight for it. Zaritsky's watercolors, with all the admiration they received at the time, were viewed as significant milestones only retrospectively, after the painter had become the leader of "New Horizons." Joseph Zaritsky's still lifes and portraits from the end of the 1920s and the 1930s, show the influence of French intimiste painting and sometimes of Matisse. From the middle of the 1930s to the middle of the 1940s Zaritsky concentrated on describing one urban landscape – the view of Tel Aviv roofs from the window of his studio or from the roof of his house. This activity resulted in hundreds of watercolors in which the artist grappled with the principal problems of painting: the significance of translating reality to the ingredients of a painting. The window and the frame around the canvas that appear in most of these paintings are an allegory for this. Towards the end of this period a tendency toward flattening and abstraction can be seen in this series. The work becomes an object in itself, the objects of reality surrender to the internal laws of the painting and become motifs of the composition. These works of Zaritsky's are a milestone in the history of Israeli art both because of their high quality and because they represent an important stage in Zaritsky's movement toward abstraction. They represent the influence of French art in the 1930s. They also relate to the modernist, contemporary aspect of the modern architecture of Tel Aviv, and to painting for its own sake and not to a figurative theme. The level of sophistication and the depth with which he dealt with the principles of painting are milestones in themselves. These paintings represent the enormous interest the painters of the Land of Israel had in watercolor painting (both for economic and budgetary reasons, and in order to transmit the effects of light). Artists such as Pinchas Abramovich, Yehiel Krize, Arie Aroch, and Shimshon Holzman were all pupils of Zaritsky during those years. And in addition to them, he had a great influence on many other artists.
617:" paintings with their Land of Israel style. His works differed from these paintings in that they lacked local symbols, such as local people, camels, or donkeys. These works were still influenced by Russian modernism. However his later work shows a gradual disengagement from the traditions of this painting style. Zaritsky developed a painting style known as "lyrical abstraction." In this kind of abstraction the images are created by the way the brush is pulled along the surface of the painting in order to produce compositions and paint stains that are for the most part square, whose disengagement from the realistic source and adaptation to the spirit of the painting, its impression as he calls it, increased with the passing of the years.
257:; a year later his family followed. In the city Zaritsky painted a number of watercolor landscapes in light colors. Gradually his artistic works became freer. In "Jerusalem: Abyssinian Gate” (1923), a precise rendering of nature is still apparent, but in later works there is a pronounced expressionistic tendency in the composition of his works. Examples of this can be seen in “Haifa, the Technion” (1924), and in the works called "Jerusalem: Nachalat Shiva" (1924), in which Zaritsky uses an expressionistic technique for dividing the format into separate spaces. The use of lines in his work as a means of expression can be seen also in his depictions of houses in Jerusalem and Safad from this period.
549:, the money for which was donated by an American philanthropist. Among the committee members choosing the recipient were Sandberg and Yona Fischer. This prize was awarded to him for a large "painting" he produced in 1964, based on one of the works of Johannes Vermeer. In the many interviews he granted in honor of winning the prize, Zaritsky emphasized his worldview with regard to the independence of the meaning of a painting. "The viewer must not see more in the painting than what is there," Zaritsky explained. "He must not allow his imagination to run wild with regard to what he is looking at. What he sees is what there is. The painting is not a dream."
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moved from its central place in the
Economics Division of the exhibition to another place in the exhibition. As a result of this decision a protest was raised by some of the journalists covering the exhibition, as well as by some of the public, against the intervention of the government in matters of art. It turned into one of the biggest scandals between the artist and the government that ever occurred in the history of visual arts in Israel. Yona Fischer wrote in
367:, etc., to views of the new, modern city spread out to his north and east. In his early works Zaritsky divided his works into areas that created the feeling of spaciousness. In some of the paintings the image of the painter working on views of the landscape even appears. His later works serve as a means of blurring and breaking up these areas. This blurring allows the blending of the landscape with what the painting is representing.
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556:. For this unusual work, he drew several sketches and a number of preliminary drawings on canvas. The full portrait, carried out in shades of green, shows Zacks-Abramov in the corner of the canvas, with her hands on her knees. While her hands undergo abstraction, the image's face retains a clear, realistic character. A large part of the composition is taken up by a curtain which becomes the dominant form in the background.
567:. At Tzuba he would paint watercolors, among them abstract nature paintings, from direct contemplation of nature. In the summer of 1983, Zaritsky painted a number of paintings in the studio in which he returned to the motif of the window, which he had used in the past. In addition, in the 1980s Zaritsky created a number of paintings, some of them monumental in size, constructed along the lines of painters like
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of truth, so that it will grasp them and march forward with us. In this way we will be able to develop the art of truth in our young country." While the art in the exhibition did not display aesthetic uniformity or a joint painting style, the exhibition was perceived as an attempt to put forward a change in the nature of local art and drew thousands who came to view the "sensationalist" modern art.
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328:. In Zaritsky's works this was manifested in his tendency to paint broad surfaces of color and to use broad, free brushstrokes. In "Portrait of the Artist's Wife," an oil painting done in 1929, Zaritsky used the image of a bouquet of flowers in front of the main image. Broad, free brushstrokes blur the boundary between the foreground and the background of the painting.
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598:, the Mayor of Tel Aviv. In January 1982 there was a festive screening of the film "Portrait of an Artist: Joseph Zaritsky” (1981; 32 min.), directed by Jachin Hirsch, under the auspices of the Ministry of Education and the Israel Film Service. In 1985 the Tel Aviv Museum Art hosted a retrospective exhibition of Zaritsky's art that included 340 of his works.
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205:, leaving behind all his works and art up to that point. In Kalarash he stayed in his father-in-law's home, where he painted small-scale watercolors, of which only five have survived: three portraits of his wife and two rural landscapes. These small works are done in small dark colored dots, and they reflect the influence of Russian modernism.
529:, that "the insult to the veteran artist Zaritsky typifies the way in which the world 'culture' is understood in our country," but he acknowledged that the choice of an abstract artist like Zaritsky for an exhibition intended for the masses was a mistake. When the exhibition closed, because of the insult, Zaritsky destroyed the painting.
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the olive press." The atmosphere in the painting
Greenberg described as "the stillness of colors" and "the holding of one's breath." “Even the red curtain," Greenberg writes, "which in his paintings reminds us of the abstraction of Kandinsky, even this red is restrained, and its judgment as red becomes just a matter of a wintry sunset."
428:. Zaritsky, who was chairman of the association at the time, decided on his own to create a list of artists who would participate because he was afraid that, left to the general membership, the list would include mediocre artists. This created a scandal at the association"s general meeting, which took place at the home of
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in
Jerusalem, the government commissioned several works of monumental proportions from the members of "New Horizons." It was one of the first times that the abstract works of the members of this group were displayed in a non-museum environment. Among the outstanding works were a large steel sculpture
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family. His parents, Golda and Joseph Ben Ya'acov, were farmers with
National-Zionist leanings. One of the main expressions of this was their devoting of two rooms in their home to the study of Hebrew and reading. When he was 7 or 8 Zaritsky was sent away from home for a long period of time (it's not
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claimed in his article "'New
Horizons': About Sins" that Zaritsky's formulation of "lyric" painting created in Israeli art a tendency toward an emphasis on the surface, to a tribute to the lyrical line and stain. This tendency permeated the work of the "Want of Matter" artists, of minimalism, and of
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The tonality of this painting has much in common with other works he painted between 1964 and 1974. In his "Green
Touches" series, as well as in the paintings "Tel Aviv Windows" and "Red Stain," the growing distance in the composition and construction of his paintings from a description of nature as
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In the exhibition catalog
Zaritsky emphasized the role of art in building the young nation in modernist terms: “We demand an art that exists in close proximity to the people and we are willing to explain to the public the paths and forms of the new art in order to inculcate into it these new values
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In 1935 Zaritsky moved to a new house that he built on the southeast corner of Ben Yehuda and Mapu
Streets. In the large series of works he produced in the 1930s and 1940s, which depicted views of the city from his rooftop, Zaritsky turned his gaze away from the view of the beach which occupied his
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said, after a visit to the exhibition, that
Zaritsky's work encompasses a different kind of painting which does not reflect "the literality of illustrative art toward the literary subject," the exotic imagery of the Land of Israel, "which drags Arabs from the shuk and their donkeys, by the ears, to
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made a tour of the exhibition, perusing the pavilions and displays there, including the
Zaritsky's painting. As a result of Ben-Gurion's remark, which according to one version was – "So, this is modern art. Well, we can manage with modern art and we can manage without it" – Zaritsky's painting was
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Another monumental work, carried out jointly by Zaritsky and Yitzhak Danziger, was commissioned by the architect Zeev Rechter for the front of the building. The two planned a long fiberglass relief with geometric motifs also taken from "Yechiam." In the end the work was never created, and in the
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In his painting "Artist’s Wife Looking out at the Street" (1920), Zaritsky divided the painting into two: the background, in which he describes the town, and the foreground, in which his figure sits. The angle of description of the figure – from behind – emphasizes this division. In spite of the
867:(Tel Aviv: Papyrus, Publishing House of the Student Association of Tel Aviv University, Reshafim, 1980) (hereinafter: Blass, New Horizons), 126. Omer, on the other hand, lengthens Zaritsky’s army service to 1919; see: Mordechai Omer, Zaritsky (Tel Aviv: Tel Aviv Museum of Art, 1984). (in Hebrew)
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Zaritsky's watercolor paintings – a unique interpretation of Cézanne and of the Russian symbolist painting (Vrubel) – received recognition from the moment of his aliyah in 1923. Both as an active artist and as an art critic, from the beginning he was one of the artists identified with the
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From the moment it was formed, “New Horizons” was perceived as a movement which aspired to have the strength of the establishment behind it. An example of this can be seen in the reactions to the general exhibition of the Israel Painters and Sculptors Association held in November 1952, in
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A subject that appears in his work during these years is the motif of flowers, such as in the series of watercolors called "Flowers on the Windowsill," which he painted in Tel Aviv between 1937 and 1944, and in his works that were created after a visit to Beit Daniel (Daniel House) in
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In 1927 Zaritsky left his family behind and went to Paris for a stay of several months. There he was exposed to the western modernist art that was flourishing in Paris at the beginning of the twentieth century. Later Zaritsky remarked on how impressed he was by the exhibits at the
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In 1957 the government of Israel decided to put on a large national display in honor of the tenth anniversary of the founding of the State of Israel. Within the framework of the preparations for the "Exhibition of the Decade," which opened on June 5, 1978, in
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Israeli conceptual art. In addition, Efrat says that "the massive presence of new horizons prevented local development of all other sensitivities." Among others, it pushed aside Surrealism and Symbolism which had begun to appear in Israel during these years.
268:. The journalistic criticism emphasized the lyricism in his works, and the fact that "the forms turn into dots of abstract color, the subject of which is an allegory of color and light, and not the plot of a story." In addition, Zaritsky and the sculptor
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division, Zaritsky cancelled the illusion of spaciousness by using identical materials and coloring for both parts. In his landscapes of this period as well, Zaritsky divided the format into a sort of mosaic on small canvases that blur the illusion of
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Around the original core, 15 artists gathered and boycotted the general exhibition of Israeli artists, and instead held the dedication of the new Artist's House in Tel Aviv. On July 2, 1948, the dissidents published their manifesto in the newspaper
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128:(the body of Jewish residents in the Land of Israel before the establishment of the State of Israel) and after the establishment of the State. Regarded as one of the most influential Israeli painters, Zaritsky is known for cofounding the "
355:, from 1939 and during the 1940s. While in the early works of the series flowers serve as an element for focusing the viewer's observation on reality, in the later works the flowers become more of a form used to express feeling.
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and continued to paint the series of landscapes that he had started in Jerusalem. The landscapes and portraits of that he painted during these years show his effort to create an artistic language appropriate to description.
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also described Zaritsky's use of light in his paintings and suggests that in these paintings the light is not perceived as a tonal problem. In fact, Omer claims, Zaritsky left the objects in the paintings unnuanced.
515:, a designer in the "Department of Economic Achievements." This oil painting was based on a number of motifs that had been appearing throughout his works as a secondary thread since his "Yechiam" period.
462:." While artists such as Yohanan Simon, Moshe Castel, and Marcel Janco dealt with Zionist and Jewish symbolism, Zaritsky chose for the exhibition an abstract still life influenced by the cubist painter
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The motive behind the founding of an alternative to the general art association came into being in 1948, with an invitation to mount an exhibition of Israeli artists at the Italian pavilion of the
454:, stating that the association must emphasize achievements in Jewish painting and not sink into mediocrity. On November 9, 1948, the new group mounted an exhibition of 18 member artists in the
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for $ 79,000. However, in addition to economic success, in his last years Zaritsky received a number of public tributes as well. In 1979 he was interviewed on television for the first time on
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known to where). From 1910 to 1914 he studied art at the Academy of Arts in the city of Kiev. Among the artists that influenced Zaritsky was the Russian Symbolist painter
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Between 1932 and 1933, Zaritsky opened an art "studia" adjoining the basement of the home where he lived on 18 Mapu Street. Among the artists who came to his studio were
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594:, Director of the Tel Aviv Museum of Art, named Zaritsky recipient of the Yakir Ha'ir (Esteemed of the city) award; on May 26, 1982, Zaritsky received the award from
347:, etc. Nonetheless, the studio did not last long, and Zaritsky was destined to earn his living in the future, for the most part, from the real estate he owned.
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For a description and review of this exhibition, see: Blass, New Horizons, 76–80; Gideon Efrat, “Exhibition of the Decade,” in: Galia Bar-Or and Gideon Efrat,
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590:'s show "Taste and Smell." In 1981 the Israeli Postal Authority issued a stamp depicting Zaritsky's “Jerusalem: The View from Jaffa Gate” (1927). In 1981
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commemoration of 20 years since the found of the Tel Aviv Museum of Art, claiming that the group “conquered” the main exhibition hall.
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states that in Zaritsky's rooftop paintings there is an attempt at combining and unifying the light and the dark in his landscapes.
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Tonality, that is, it doesn't relate to reality directly. The relationship to light and its influence on the object is not mimetic.
432:. At the meeting it was decided to suspend Zaritsky from the group. As a reaction to the condemnation, several artists, among them
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announced their immediate resignation from the association and their invitation to Zaritsky to form an independent association.
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His exhibition at the Bezalel National Museum in 1930 established him as a modernist and reflected a turn toward European art.
320:, among others, also participated. The works of this group show the influence of late French post-modernism (primarily of the "
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In 1924 Zaritsky mounted his first solo exhibition in the club "Menorah" in Jerusalem. Another exhibition was opened in the
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During the second decade of the twentieth century, Zaritsky stood out because of his modern approach, in contrast to the "
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Paintings by Zaritsky and Itzhak Danziger at the 9th "Ofakim Hadashim" exhibition,Tel Aviv Museum of Art, April 1959
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claimed that "lyrical abstraction" is an original Zaritsky formulation for the French "unformal" or the American "
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Gideon Efrat, "The Dialectics of the 1950s: A Hegemony and a Plurality," in Galia Bar-Or and Gideon Efrat,
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On March 26, 1985, Zaritsky's wife Sarah died. Zaritsky died a few months later, on November 30, in
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In the 1980s Zaritsky would take up residence every summer in the studio he had received on Kibbutz
511:, etc. Another notable work was Zaritsky's painting "Otsma" (Power), which had been commissioned by
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605:, aged 96. After a ceremony at the Tel Aviv Museum of Art, he was buried at Kibbutz Tzuba.
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Jerusalem 1925: sitting (left to right): Ms. Sarah (Sonia) Zaritzky,
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it is, toward a conversation with the abstract, is clearly evident.
961:(Tel Aviv: Tel Aviv Museum of Art, 1984),54–55, 68–70. (in Hebrew)
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building in honor of his 50th birthday. In 1942 Zaritsky won the
974:(Jerusalem: Israel Museum, 1981) (pages unnumbered). (in Hebrew)
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489:(1958) by Yosef Zaritsky at "the First Daecade Exhibition"' 1958
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Joseph Zaritsky with his wife Sara and daughter, Jerusalem, 1923
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1932–33 Opened studio in the cellar of his home in Rehov Mapu,
229:, Joseph Zaritzky and daughter Etia. Standing (left to right):
132:" group. In his works, he created a uniquely Israeli style of
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Creative Commons Attribution-ShareAlike 3.0 Unported License
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place intended for it, a long concrete strip was installed.
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Tikva Weinstock, "It's Not Easy to Live With a Painting,"
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893:(Tel Aviv: Tel Aviv Museum of Art, 1984), 17. (in Hebrew)
1161:(in Hebrew). Israel Prize Official Site. Archived from
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Zaritsky (left) at the "Histadrut Prize" Ceremony, 1961
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See: Yoel Dorkas, “Ukraine-Jerusalem-Tel Aviv-Tsuba,”
1072:(Givatayim: Masada Publishers, 1987),114. (In Hebrew)
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1140:(in Hebrew). Tel Aviv Municipality. Archived from
1035:(Ein Harod: Museum of Art, 2008), 241. (In Hebrew)
1009:(Ein Harod: Museum of Art, 2008), 19. (in Hebrew)
827:"Artist List, Information Center for Israeli Art"
541:In 1968 Zaritsky was the first recipient of the
1124:(Tel Aviv: Kibbutz Hameuhad, 2003). (In Hebrew)
324:"), which was popular among the artists of the
1223:, Tel Aviv. Includes list of solo exhibitions.
1221:Joseph Zaritsky's works at the Gordon Gallery
518:On the eve of the opening of the exhibition,
284:In the middle of the 1920s Zaritsky moved to
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1033:The First Decade: A Hegemony and A Plurality
1007:The First Decade: A Hegemony and A Plurality
379:In 1941 he mounted a solo exhibition in the
1120:Gideon Efrat, "'New Horizons': About Sin,"
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1094:Nathan Gross, "Portrait of the Artist,"
1262:Soviet emigrants to Mandatory Palestine
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308:in Tel Aviv, in which artists such as
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906:, December 27, 1957, 10. (in Hebrew)
161:Joseph Zaritsky was born in 1891 in
1272:Israel Prize in painting recipients
1135:"List of Dizengoff Prize laureates"
249:In 1923 Zaritsky immigrated to the
136:. For this work he was awarded the
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1191:Information Center for Israeli Art
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1159:"Israel Prize recipients in 1959"
1059:(September 19, 1958). (In Hebrew)
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1098:(January 11, 1982). (In Hebrew)
809:List of Israel Prize recipients
733:The Painter and the Model, 1949
503:, "Sculpture of the Decade" by
197:of 1919, the family escaped to
1292:Immigrants of the Third Aliyah
1085:(January 7, 1979). (In Hebrew)
854:4 (February 1972). (in Hebrew)
404:The Founding of "New Horizons"
124:both during the period of the
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1111:(February 1976). (In Hebrew)
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1180:Yossef Zaritsky collection
1107:Ran Shachori, "Zaritsky,"
1047:(May 6, 1958). (In Hebrew)
1282:Israeli portrait painters
1277:Sandberg Prize recipients
798:1982 Yakir Tel Aviv-Jaffa
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545:of Israeli Art From the
110:Joseph (Yossef) Zaritsky
22:Joseph (Yossef) Zaritsky
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1122:In the Local Context
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880:(1957). (in Hebrew)
554:Ayala Zacks-Abramov
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1195:. Retrieved
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1163:the original
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1242:1985 deaths
1237:1891 births
695:Paris, 1954
638:avant-garde
592:Marc Scheps
537:Later years
314:Arieh Lubin
231:Arieh Lubin
211:perspective
188:World War I
171:Kyiv Oblast
169:(today the
118:יוסף זריצקי
102:Israeli art
80:Nationality
1231:Categories
930:Doar Hayom
915:M. Zamir,
815:References
738:Collection
719:Collection
700:Collection
681:Collection
662:Collection
345:Arie Aroch
203:Bessarabia
64:1985-11-30
43:1891-09-01
1210:Europeana
822:this edit
746:Education
299:Asian Art
255:Jerusalem
144:Biography
1070:Zaritsky
959:Zaritsky
891:Zaritsky
803:See also
766:Tel Aviv
759:Teaching
740:B74.0036
721:B67.0599
702:B87.0249
683:B69.0313
664:B67.0789
526:LaMerhav
286:Tel Aviv
262:Technion
199:Kalarash
163:Boryspil
98:Movement
93:Painting
74:, Israel
72:Tel Aviv
1045:Haaretz
1018:Blass,
992:Blass,
917:Haaretz
644:Gallery
579:, etc.
577:Chagall
573:Picasso
478:“Otsma”
451:Haaretz
175:Ukraine
84:Israeli
946:Studio
904:Maariv
878:Yediot
820:As of
440:, and
381:Habima
316:, and
195:pogrom
179:Jewish
126:Yishuv
114:Hebrew
1145:(PDF)
1138:(PDF)
1109:Musag
1081:See:
876:See:
791:1967
784:1959
777:1942
565:Tzuba
487:Might
266:Haifa
1199:2012
852:Masa
836:GFDL
753:Kiev
569:Goya
58:Died
37:Born
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