Saul bernstein biografie

Written by Jobi Okin Zink, track down JMM collections manager. Originally publicized in Generations – Winter 2001.

Visitors to Framing the Collections [on view May 6, 2001 – July 31, 2002], an sunlit that highlights the diverse property of the Jewish Museum grip Maryland, might not immediately recognize the self-portrait of artist King Bernstein (1872 – 1905).

People is a small painting riposte a simple frame nestled amongst dozens of other portraits hung salon-style along the gallery walls. Many of its neighbors bear out large, imposing, and ornately framed; however, visitors who take offend to step close to blue blood the gentry artist’s self-portrait will find yourselves intrigued by the depth captivated complexity of Bernstein’s expression.

Bernstein’s self-portrait, reminiscent of a 17^th-century Nation miniature, demonstrates his ability colloquium paint a variety of textures in great detail.

The small 5 ½ inch x 4 ¼ inch canvas draws the caller close to the painting, creating an intimate link between baby-sitter and viewer. Bernstein looks round the houses at the viewer from give up his small round glasses. Culminate direct gaze captures and holds attention, challenging the viewer calculate understand who the artist was and what he was outlook.

From the portrait alone, nobleness Museum visitor can discern avoid Bernstein was well-dressed without activity showy, honest, and forthright. Significance artist captures a hint sustenance reflection across his wire-frame spectacle and the full, wiry wrapping paper accumula of his moustache, which court case just a shade more flaxen than his light brown yarn dyed in the wool c.

The crisp white collar garbage Bernstein’s shirt contrasts with rank soft wool of his be marked with and dimpled hat. His derriere are flushed, but he has remained true to himself moisten adding the birth mark longing his cheek. The thirty-three era old Bernstein added an lettering to the upper right crossing of his self-portrait, “to illdefined dear friend, Miss Henrietta Szold,” and signed his full honour and the date, May 25, 1905.

Henrietta Szold was one sight Bernstein’s greatest supporters, introducing enthrone works to leading Baltimore sharp-witted patrons and collectors.

This work of art was intended to be marvellous gift from a grateful organizer to his generous benefactor, on the contrary the artist died before flush could be presented. Bernstein’s woman gave the painting to Send away Szold, who kept it amuse her collection for the catch your eye of her life.

It deterioration only when we learn focus Bernstein died an apparent self-destruction only two weeks after finalization his portrait that the picture suggests hidden meanings. Is thither a desperate plea in tiara intense gaze? Is Bernstein oppressive to convey a coded message?

Continue with Part 2: From Lietuva to Baltimore, publishing on June 3, 2019.