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E-raamat: Eliezer-Zusman of Brody: The Early Modern Synagogue Painter and His World

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Eliezer-Zusman of Brody: The Early Modern Synagogue Painter and His World discusses Jewish cultural and artistic migration from Eastern Europe to German lands in the first half of the eighteenth century. Focusing on Eliezer-Zusman of Brody, who painted synagogues in the Franconia area, hitherto neglected biographical aspects and work methods of religious artisans in Eastern and Central Europe during the early modern period are revealed. What begins as a study of synagogue paintings in Franconia presents an unexpectedly intensive glimpse into the lives and sacred products of painters at the periphery of Jewish Ashkenazi existence.
Preface ix
Acknowledgements xv
List of Illustrations
xvii
List of Plates
xl
1 The Painter Eliezer-Zusman of Brody
1(37)
1 Signature Formulas
1(9)
2 Origin and Vocational Training
10(8)
3 Status and Personal Life
18(11)
4 Itinerary
29(9)
2 Eliezer-Zusman at Work
38(168)
1 Underpainting, Binding Materials, and Pigments
38(6)
1.1 Church Paintings
38(3)
1.2 Synagogue Paintings
41(1)
1.3 Eliezer-Zusman's Work
41(3)
2 Preparation of the Substrate and Color Laying Order
44(2)
3 Copying Models
46(45)
3.1 Faithful Copying
49(3)
3.2 Partial Copying
52(3)
3.3 Copying Several Instances of One Motif from Different Visual Models
55(13)
3.4 Combining Several Different Visual Models into One Motif
68(9)
3.5 The Ihringen Haggadah, 1732: A Visual Model?
77(14)
4 Inscriptions
91(77)
4.1 Design Properties for Letters and Words
91(24)
4.2 Diacritical Marks, Grammar, Spelling
115(33)
4.3 Dating Method
148(2)
4.4 Inscriptions' Layout
150(18)
4.5 Summary
168(1)
5 Planning and Layout of Compositions
168(27)
5.1 Outlining the Composition: Precision vs. Freehand
169(3)
5.2 Designing the Interior Paintings' Layout
172(8)
5.3 Consistent Placement of Motifs within the Decoration
180(1)
5.4 Inscriptions' Locations
181(14)
6 Textual Sources of Painting Themes
195(11)
6.1 Black on White, Remembrance of the Destruction
197(1)
6.2 Temple Menorah
198(1)
6.3 In Search of an Overall Theme
199(7)
3 Eliezer-Zusman's Workshop---the Unterlimpurg and Steinbach Synagogues
206(48)
1 Underpainting, Binding Materials, and Pigments
209(1)
2 Preparation of the Substrate and Color Laying Order
210(2)
3 Copying Visual Models: Bechhofen and Horb Synagogues
212(9)
3.1 Faithful Copying
212(3)
3.2 Partial Copying
215(4)
3.3 Combining Several Different Visual Models into One Motif
219(2)
4 Shared Visual Models: Kirchheim Synagogue
221(4)
4.1 Framing the Text
221(1)
4.2 Inscription Extolling Charity
222(1)
4.3 Visualizing Jerusalem
223(2)
4.4 Remembering Jerusalem
225(1)
5 Copying Visual Models: Miscellanea
225(3)
6 Inscriptions
228(16)
6.1 Design Properties for Letters and Words
228(4)
6.2 Diacritical Marks, Grammar, Spelling
232(7)
6.3 Dating Method
239(1)
6.4 Inscriptions' Layout
240(3)
6.5 Summary
243(1)
7 Planning and Layout of the Composition
244(4)
7.1 Outlining the Composition: Precision vs. Freehand
244(1)
7.2 Designing the Interior Paintings' Layout
244(1)
7.3 Consistent Placement of Motifs within the Design
245(1)
7.4 Inscriptions' Locations
245(3)
8 Textual Sources of Painting Themes
248(4)
8.1 Lion Standing beside a Castle
249(1)
8.2 Bow and Arrow
250(1)
8.3 Zoomorphic Motifs
251(1)
9 Re-examination: The Attribution of the Unterlimpurg and Steinbach synagogues' Paintings to Eliezer-Zusman
252(2)
4 Eliezer-Zusman's Workshop---the Colmberg Synagogue
254(7)
1 Underpainting
254(1)
2 Copying Models
254(4)
2.1 Faithful Copying
254(1)
2.2 Partial Copying
255(3)
3 Consistent Placement of Motifs within the Decoration
258(1)
4 Re-examination: The Attribution of the Colmberg Synagogue Paintings to Eliezer-Zusman
259(2)
5 Continuing the Tradition of Synagogue Interior Paintings in Southern Germany and Alsace in the Eighteenth Century
261(18)
1 The Georgensgmund Synagogue
261(9)
1.1 Underpainting and Pigments
262(1)
1.2 Preparation of the Substrate and Color Laying Order
262(1)
1.3 Copying Models
263(4)
1.4 Inscriptions
267(1)
1.5 Planning and Laying Out the Composition
268(1)
1.6 Re-examination: The Attribution of the Georgensgmund Synagogue Paintings to Eliezer-Zusman
268(2)
2 The Odenbach Synagogue
270(3)
2.1 Underpainting and Pigments
270(1)
2.2 Copying Models
270(1)
2.3 Inscriptions
270(2)
2.4 Planning and Laying Out the Composition
272(1)
2.5 Eliezer-Zusman's influence on the Odenbach Synagogue Paintings
272(1)
3 The Traenheim Synagogue
273(3)
3.1 Underpainting and Pigments
273(1)
3.2 Copying Models
273(1)
3.3 Inscriptions
274(1)
3.4 Eliezer-Zusman's influence on the Traenheim Synagogue Paintings
275(1)
4 The Horkheim Synagogue
276(1)
5 Summary
277(2)
Epilogue 279(4)
Bibliography 283(17)
Plates 300(57)
Index of Names 357(1)
Index of Places 358
Zvi Orgad, Ph.D. (2017), teaches in the Department of Jewish Art at Bar-Ilan University. He is the author of articles on synagogue interior paintings and Hebrew illuminated manuscripts.
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