TY  - JOUR
AU  - Cohen, Richard I.
AU  - Rajner, Mirjam
PY  - 2015
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2689
AB  - Samuel Hirszenberg (1865-1908), the Łódź-born artist, created several signature works of art that would emerge as emblematic of the Jewish historical experience of the twentieth century. "Exile" (1904) is one of these works that came to evoke the trials and tribulations of Jewish fate in the decades following its creation. After placing "Exile" in the context of Hirszenberg’s oeuvre, this essay charts its cultural and artistic reception over close to a century in diverse media. "Exile" evoked instinctive, negative responses alongside a deep sense of identification and appropriation. The essay illuminates how a seminal work of art can engender intense interaction over decades, allowing a wide range of interpretations, references, and quotations.
AB  - Samuel Hiršenberg (1865-1908), umetnik rođen u Lođu, stvorio je nekoliko prepoznatljivih umetničkih dela koja će se pojaviti kao simbol jevrejskog istorijskog iskustva dvadesetog veka. „Izgnanstvo“ (1904) je jedno od ovih dela koje je dočaralo iskušenja i nevolje jevrejske sudbine u decenijama nakon njegovog nastanka. Nakon što je „Egzil“ stavio u kontekst Hiršenbergovog opusa, ovaj esej prikazuje njegovu kulturnu i umetničku recepciju tokom skoro jednog veka u različitim medijima. „Izgnanstvo“ je izazvalo instinktivne, negativne odgovore uz dubok osećaj identifikacije i prisvajanja. Esej osvetljava kako osnovno umetničko delo može izazvati intenzivnu interakciju tokom decenija, omogućavajući širok spektar tumačenja, referenci i citata.
PB  - Leiden : Koninklijke Brill NV
T2  - Images
T1  - Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile"
T1  - Pozivanje na umetničko nasleđe Samuela Hiršenberga - susret sa „Izgnanstvom“
DO  - 10.1163/18718000-12340035
SP  - 46
EP  - 65
IS  - 1
VL  - 8
ER  - 

@article{
author = "Cohen, Richard I. and Rajner, Mirjam",
year = "2015",
abstract = "Samuel Hirszenberg (1865-1908), the Łódź-born artist, created several signature works of art that would emerge as emblematic of the Jewish historical experience of the twentieth century. "Exile" (1904) is one of these works that came to evoke the trials and tribulations of Jewish fate in the decades following its creation. After placing "Exile" in the context of Hirszenberg’s oeuvre, this essay charts its cultural and artistic reception over close to a century in diverse media. "Exile" evoked instinctive, negative responses alongside a deep sense of identification and appropriation. The essay illuminates how a seminal work of art can engender intense interaction over decades, allowing a wide range of interpretations, references, and quotations., Samuel Hiršenberg (1865-1908), umetnik rođen u Lođu, stvorio je nekoliko prepoznatljivih umetničkih dela koja će se pojaviti kao simbol jevrejskog istorijskog iskustva dvadesetog veka. „Izgnanstvo“ (1904) je jedno od ovih dela koje je dočaralo iskušenja i nevolje jevrejske sudbine u decenijama nakon njegovog nastanka. Nakon što je „Egzil“ stavio u kontekst Hiršenbergovog opusa, ovaj esej prikazuje njegovu kulturnu i umetničku recepciju tokom skoro jednog veka u različitim medijima. „Izgnanstvo“ je izazvalo instinktivne, negativne odgovore uz dubok osećaj identifikacije i prisvajanja. Esej osvetljava kako osnovno umetničko delo može izazvati intenzivnu interakciju tokom decenija, omogućavajući širok spektar tumačenja, referenci i citata.",
publisher = "Leiden : Koninklijke Brill NV",
journal = "Images",
title = "Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile", Pozivanje na umetničko nasleđe Samuela Hiršenberga - susret sa „Izgnanstvom“",
doi = "10.1163/18718000-12340035",
pages = "46-65",
number = "1",
volume = "8"
}

Cohen, R. I.,& Rajner, M.. (2015). Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile". in Images
Leiden : Koninklijke Brill NV., 8(1), 46-65.
https://doi.org/10.1163/18718000-12340035

Cohen RI, Rajner M. Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile". in Images. 2015;8(1):46-65.
doi:10.1163/18718000-12340035 .

Cohen, Richard I., Rajner, Mirjam, "Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile"" in Images, 8, no. 1 (2015):46-65,
https://doi.org/10.1163/18718000-12340035 . .

TY  - JOUR
AU  - Rajner, Mirjam
AU  - Cohen, Richard I.
PY  - 2014
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2693
AB  - "The destruction of Jerusalem and its Temple has remained a constant cultural, religious, and theoretical preoccupation of Jews and non-Jews. Deeply enshrined in historical memory, the destruction has occasioned a wide range of interpretations, associations, and metaphoric analogies. As such, it has, of course, also captured the imagination and interpretation of a wide range of artists - from Rembrandt and Nicolas Poussin in the seventeenth century, to Eduard Bendemann (1811-1889), the German artist of Jewish origin and Wilhelm von Kaulbach in the nineteenth. While often utilizing the destruction as a metaphor for other historical events or cultural phenomena, artists have chosen to depict either the acts of violence and havoc during the tragic event itself or create a more contemplative atmosphere that focuses on the feelings of loss, mourning, and displacement that came in its wake..."
AB  - „Uništenje Jerusalima i njegovog hrama ostalo je stalna kulturna, verska i teorijska preokupacija Jevreja i neJevreja. Duboko urezano u istorijsko pamćenje, razaranje je izazvalo širok spektar tumačenja, asocijacija i metaforičkih analogija. Kao takvo, ono je, naravno, zaokupilo maštu i interpretaciju širokog spektra umetnika - od Rembranta i Nikole Pusena u sedamnaestom veku, do Eduarda Bendemana (1811-1889), nemačkog umetnika jevrejskog porekla i Vilhelma fon Kaulbaha u 19. veku. Iako često koriste destrukciju kao metaforu za druge istorijske događaje ili kulturne fenomene, umetnici su izabrali da prikažu ili akte nasilja i pustošenja tokom samog tragičnog događaja ili da stvore kontemplativniju atmosferu koja se fokusira na osećaj gubitka, tugovanje i raseljavanje koje je došlo za njim..."
PB  - Warszawa : Instytut Sztuki Polskiej Akademii Nauk
T2  - Biuletyn Historii Sztuki [Bulletin of Art History]
T1  - Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland
T1  - „Pesma o razaranju Jerusalima“ Vandalina Strzaleckog. Omaž Mauriciju Gotlibu i Poljskoj ​
SP  - 83
EP  - 112
IS  - 1
VL  - 76
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2693
ER  - 

@article{
author = "Rajner, Mirjam and Cohen, Richard I.",
year = "2014",
abstract = ""The destruction of Jerusalem and its Temple has remained a constant cultural, religious, and theoretical preoccupation of Jews and non-Jews. Deeply enshrined in historical memory, the destruction has occasioned a wide range of interpretations, associations, and metaphoric analogies. As such, it has, of course, also captured the imagination and interpretation of a wide range of artists - from Rembrandt and Nicolas Poussin in the seventeenth century, to Eduard Bendemann (1811-1889), the German artist of Jewish origin and Wilhelm von Kaulbach in the nineteenth. While often utilizing the destruction as a metaphor for other historical events or cultural phenomena, artists have chosen to depict either the acts of violence and havoc during the tragic event itself or create a more contemplative atmosphere that focuses on the feelings of loss, mourning, and displacement that came in its wake...", „Uništenje Jerusalima i njegovog hrama ostalo je stalna kulturna, verska i teorijska preokupacija Jevreja i neJevreja. Duboko urezano u istorijsko pamćenje, razaranje je izazvalo širok spektar tumačenja, asocijacija i metaforičkih analogija. Kao takvo, ono je, naravno, zaokupilo maštu i interpretaciju širokog spektra umetnika - od Rembranta i Nikole Pusena u sedamnaestom veku, do Eduarda Bendemana (1811-1889), nemačkog umetnika jevrejskog porekla i Vilhelma fon Kaulbaha u 19. veku. Iako često koriste destrukciju kao metaforu za druge istorijske događaje ili kulturne fenomene, umetnici su izabrali da prikažu ili akte nasilja i pustošenja tokom samog tragičnog događaja ili da stvore kontemplativniju atmosferu koja se fokusira na osećaj gubitka, tugovanje i raseljavanje koje je došlo za njim..."",
publisher = "Warszawa : Instytut Sztuki Polskiej Akademii Nauk",
journal = "Biuletyn Historii Sztuki [Bulletin of Art History]",
title = "Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland, „Pesma o razaranju Jerusalima“ Vandalina Strzaleckog. Omaž Mauriciju Gotlibu i Poljskoj ​",
pages = "83-112",
number = "1",
volume = "76",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2693"
}

Rajner, M.,& Cohen, R. I.. (2014). Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland. in Biuletyn Historii Sztuki [Bulletin of Art History]
Warszawa : Instytut Sztuki Polskiej Akademii Nauk., 76(1), 83-112.
https://hdl.handle.net/21.15107/rcub_jdb_2693

Rajner M, Cohen RI. Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland. in Biuletyn Historii Sztuki [Bulletin of Art History]. 2014;76(1):83-112.
https://hdl.handle.net/21.15107/rcub_jdb_2693 .

Rajner, Mirjam, Cohen, Richard I., "Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland" in Biuletyn Historii Sztuki [Bulletin of Art History], 76, no. 1 (2014):83-112,
https://hdl.handle.net/21.15107/rcub_jdb_2693 .

TY  - JOUR
AU  - Cohen, Richard I.
AU  - Rajner, Mirjam
PY  - 2011
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2695
AB  - "Few Jewish artists of the turn of the twentieth century created works that became classics in their lifetime. One who did was Samuel Hirszenberg, the Lodz-born (1865) artist, who trained in Cracow, Munich, and Paris, and eventually came in October 1907 to teach at the fledgling Bezalel Art School in Jerusalem, where he died less than a year later. Hirszenberg's huge and haunting 'Wandering Jew' of 1899 (343 x 293 cm), which we revisit here, presently in the collection of the Israel Museum in Jerusalem, is certainly one of the most dramatic paintings by a Jewish artist in the nineteenth century, and thus for good reason has been reproduced and discussed repeatedly in various publications. Indeed, the 'Wandering Jew' became one of the classic Zionist icons in the early Bezalel days..."
AB  - „Nekoliko jevrejskih umetnika s početka dvadesetog veka stvorilo je dela koja su postala klasika za  njihovog života. Jedan od njih bio je Samuel Hiršenberg, umetnik rođen u Lođu (1865), koji se školovao u Krakovu, Minhenu i Parizu i od oktobra 1907. predavao u novonastaloj umetničkoj školi Bezalel u Jerusalimu, gde je umro za manje od godinu dana. Hiršenbergov ogroman i ekspresivni 'Lutajući Jevrejin' iz 1899. (343 x 293 cm) koji ovde ponovo posmatramo, trenutno u kolekciji Izraelskog muzeja u Jerusalimu, svakako je jedna od najdramatičnijih slika jevrejskog umetnika u devetnaestom veku, pa je s razlogom više puta reprodukovana i diskutovana u raznim publikacijama. Zaista, 'Lutajući Jevrejin' je postao jedan od klasičnih cionističkih ikona u ranim Bezalelovim danima...“
PB  - Liverpool : Liverpool University Press
T2  - Ars Judaica
T1  - The return of the wandering Jew(s) in Samuel Hirszenberg's art
T1  - Povratak lutajućih Jevreja(a) u umetnosti Samuela Hiršenberga
SP  - 33
EP  - 56
IS  - 7
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2695
ER  - 

@article{
author = "Cohen, Richard I. and Rajner, Mirjam",
year = "2011",
abstract = ""Few Jewish artists of the turn of the twentieth century created works that became classics in their lifetime. One who did was Samuel Hirszenberg, the Lodz-born (1865) artist, who trained in Cracow, Munich, and Paris, and eventually came in October 1907 to teach at the fledgling Bezalel Art School in Jerusalem, where he died less than a year later. Hirszenberg's huge and haunting 'Wandering Jew' of 1899 (343 x 293 cm), which we revisit here, presently in the collection of the Israel Museum in Jerusalem, is certainly one of the most dramatic paintings by a Jewish artist in the nineteenth century, and thus for good reason has been reproduced and discussed repeatedly in various publications. Indeed, the 'Wandering Jew' became one of the classic Zionist icons in the early Bezalel days...", „Nekoliko jevrejskih umetnika s početka dvadesetog veka stvorilo je dela koja su postala klasika za  njihovog života. Jedan od njih bio je Samuel Hiršenberg, umetnik rođen u Lođu (1865), koji se školovao u Krakovu, Minhenu i Parizu i od oktobra 1907. predavao u novonastaloj umetničkoj školi Bezalel u Jerusalimu, gde je umro za manje od godinu dana. Hiršenbergov ogroman i ekspresivni 'Lutajući Jevrejin' iz 1899. (343 x 293 cm) koji ovde ponovo posmatramo, trenutno u kolekciji Izraelskog muzeja u Jerusalimu, svakako je jedna od najdramatičnijih slika jevrejskog umetnika u devetnaestom veku, pa je s razlogom više puta reprodukovana i diskutovana u raznim publikacijama. Zaista, 'Lutajući Jevrejin' je postao jedan od klasičnih cionističkih ikona u ranim Bezalelovim danima...“",
publisher = "Liverpool : Liverpool University Press",
journal = "Ars Judaica",
title = "The return of the wandering Jew(s) in Samuel Hirszenberg's art, Povratak lutajućih Jevreja(a) u umetnosti Samuela Hiršenberga",
pages = "33-56",
number = "7",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2695"
}

Cohen, R. I.,& Rajner, M.. (2011). The return of the wandering Jew(s) in Samuel Hirszenberg's art. in Ars Judaica
Liverpool : Liverpool University Press.(7), 33-56.
https://hdl.handle.net/21.15107/rcub_jdb_2695

Cohen RI, Rajner M. The return of the wandering Jew(s) in Samuel Hirszenberg's art. in Ars Judaica. 2011;(7):33-56.
https://hdl.handle.net/21.15107/rcub_jdb_2695 .

Cohen, Richard I., Rajner, Mirjam, "The return of the wandering Jew(s) in Samuel Hirszenberg's art" in Ars Judaica, no. 7 (2011):33-56,
https://hdl.handle.net/21.15107/rcub_jdb_2695 .