| Abstrakt: |
Chana Orloff (1888–1968), a Ukrainian-born artist who emigrated to France in 1910 by way of Palestine, was one of the most important Jewish artists of the School of Paris and a pioneering woman in the early Israeli art world, yet her story has been marginalized in both the narratives of European modernism and the history of Israeli art. I propose that Orloff's biography and artistic production, particularly her sculpted portraits of Jewish friends and colleagues in Paris between the two World Wars, demonstrate how diaspora, gender, and displacement play a critical role in a revised narrative of twentieth-century modern art. I argue that Orloff's work offers a compelling visual counter-discourse to prevailing negative stereotypes of Jewish identity in European visual culture. During a time when many émigré artists wished to distance themselves from their Jewish identity in light of widespread anti-Semitic and xenophobic beliefs that their work contributed to the “decline” of French culture, Orloff proudly did just the opposite. [ABSTRACT FROM PUBLISHER] |
