Friedrich Adler: Ways and Byways, written by Batsheva Goldman Ida

Forging Ahead: Wolpert and Gumbel, Israeli Silversmiths for the Modern Age, written by Sharon Weiser-Ferguson

Common Roots. Design Map of Central Europe, written by Agnieszka Jacobson and Galit Gaon

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IMAGES

A Journal of Jewish Art and Visual Culture

Sections

References

1

See: Barry Bergdoll and Leah Dickerman, Bauhaus 1919–1933: Workshops for Modernity (New York: The Museum of Modern Art, 2009); Detlef Mertins, Modernity Unbound: Other Histories of Architectural Modernity (London: AA Publications, 2011); see also Alan Colquhoun, “Criticism and Self-Criticism in German Modernism,” in the AA Files no. 28, (Autumn 1994): 26–33; Colquhoun, Essays in Architectural Criticism: Modern Architecture and Historical Change, (Cambridge, MA: The MIT Press, 1985), 46–47; Hilde Heynen, Architecture and Modernity: A Critique, (Cambridge, MA: The MIT Press, 1999), 43; Anthony Vidler, Histories of the Immediate Past: Inventing Architectural Modernism (Cambridge, MA: MIT Press, 2008).

3

Colin Rowe, The Architecture of Good Intentions: Toward a Possible Retrospect (London: Academy Editions, 1994); Mitchell Schwarzer, German Architectural Theory and the Search for Modern Identity (Cambridge: Cambridge University Press, 1995); Harry Francis Mallgrave and Eleftherios Ikonomou, ed. and trans., Empathy, Form, and Space: Problems in German Aesthetics, 1873–1893 (Santa Monica: Getty Center for the History of Art and the Humanities, 1994).

5

John V. Maciuika, Before the Bauhaus: Architecture, Politics and the German State, 1890–1919 (Cambridge: Cambridge University Press, 2005), 23; Francesco Dal Co, Figures of Architecture and Thought: German Architecture Culture 1880–1920 (New York: Rizzoli, 1990), 171–260. See also: Frederic J. Schwartz, The Werkbund: Design Theory and Mass Culture before the First World War (New Haven: Yale University Press, 1996).

7

Cited in: Sharon Weiser-Ferguson, Forging Ahead: Wolpert and Gumbel, Israeli Silversmiths for the Modern Age (Jerusalem: Israel Museum, 2012), 175.

Figures

  • Friedrich Adler, Etrog box, Heilbronn, 1913–14. Manufactured by Peter Bruckmann & Sons, Heilbronn. Silver, repoussé; ivory, 11.7×16.8×14 cm. Hebrew inscription: “And ye shall take you on the first day the fruit of goodly trees” (Leviticus 23:40). Courtesy Spertus Institute, Chicago.
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  • Ludwig Y. Wolpert, Torah crown, 1932, silver, collection of Gilad Gat, Israel. © Chava Wolpert Richard. © Photo: The Israel Museum, Jerusalem by Elie Posner.
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  • David H. Gumbel, three-branched candlestick, ca. 1930, silver and ivory, private collection, Germany. © Malka Cohavi. © Photo: Thomas Goldschmidt, Badisches Landesmuseum.
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  • Maciej Gasienica Giewont, untitled. 2009. Wood-turned bowl. Poland. (Photo Maciej Gasienica Giewont).
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