1928 Jewish YIDDISH ART BOOK Style KULTURE LIGE Russian AVANT GARDE Maud Cutler

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1928 Jewish YIDDISH ART BOOK Style KULTURE LIGE Russian AVANT GARDE Maud Cutler:
$185.00

DESCRIPTION : Inspite their Eastern Europe ( Poland - Lithuania ) origin and culture and unlike BORIS ARONSON who also immigrated to the USA very young but yet considered as a JEWISH RUSSIAN AVANT GARDE ARTIST , The MOST GIFTED pair of ARTISTS , Namely ZUNI MAUD and YOSL CUTLER are best known ( If at all ) as the designers and founders of the YIDDISH PUPPET THEATRE and are not included in the category of AVANT GARDE ARTISTS , However , One short look in the 1928 richly illustrated YIDDISH BOOK in front of us , Not to mention the enormous scope and variety of their artistic creation , Both ZUNI MAUD and YOSL CUTLER should have been included in the top of any such list , Together with artists such as EL LISSITZKY , JOSEPH CHAIKOV , MARC CHAGALL , BORIS ARONSON , NATHAN ALTMAN YISSACHAR BER RYBACK , KULTUR LIGE artists and others . They also visited RUSSIA for couple of years in the 1930\'s , Perhaps for deepening this artistic bound. The YIDDISH book was published in NYC in 1928 . It is named \"MAYSALACH\" ( Folk tales , Stories, Legends, Fables ) and was written by H. GOLD. Frofusely illustrated
( Many full page illustrations ) by ZUNI MAUD and YOSL CUTLER . YIDDISH text. Original illustrated cloth HC . 8 x 5.5\" . 256 pp. Good condition. Used. Cover somewhat worn. Tightly bound. Around 3 pp has tears in one corner of margins .( Pls look at scan for accurate AS IS images ) Will be sent inside a protective envelope .

PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via expedited insured trackable registered airmail is $17 . Book will be sent inside a protective envelope . Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 10 days.

Born around 1981 in Vashlikov, Grodno Gubernia, Polish Lithuania. His father was a sexton. He studied at a cheder, yeshiva and Talmud Torahs in Bialystok, Bielsk, Czestochowa and Warsaw.In 1905 M. and his brother arrived at their uncle’s in America. Here he studied at night school, worked in cigarettes, worked as a \'servant\' in a colonial shop and worked with ladies\' vests.When he was still in cheder and Talmud Torah, he used to illustrate the mishnayos [Jewish literature] which he was studying. During Purim he used to perform by heart “Purim shpiels\" [Purim plays]. After arriving in America, he began to study in the painting school at Cooper Union in New York and at Baron Hirsch’s Weaving Art School and later at the “National Academy of Art”.M. was one of the early staff cartoonists at the ”Kibitzer” magazine that was managed by “Der tunkler” [Joseph Tunkel’s pen name meaning “the dark one”], then illustrated various books in Yiddish and published in the “Kundes”. Later M. teamed up with Yosl Cutler and designed the set and costumes for Maurice Schwartz’s production of Abraham Goldfaden’s “Di kishefmacherin (The Sorceress/Witch)” ( 11 March 1924) After creating puppets for the market scene in the above-mentioned play, Maud decided to launch a marionette theatre with Yosl Cutler, and named it \"Modicut [Modjacot]\" (for a short while in association with Jacob Turkow). They opened the theatre with Maud’s” King Ahaseurus” – music by Michael Gelbart and Moishe Rappaport on December 17, 1925, Ahaseurus, a Purim play in two acts. Gedr.[?] in “Unzer book”, N.Y. 4, 5, 1928. On September 22, 1926 they performed M’s “The Dybbuk” - a parody with M. Gelbart’s music, and on March 4, 1928 they performed the “The Respectable Man”. M. and Cutler also designed the costumes for Schwartz’s modern adaptation of Jacob Gordin’s “God, Man and Devil ( 21 December 1928). In other programs of Modicut, M. acted and produced his own plays such as “The Magid” [The Itinerant Preacher?], “Shleyme mit der beheyme” (Shleyme with the Beast), “Tshing tang po”, a Chinese satire and an adaptation of Sholem Aleichem’s ” Rich Landlords”[?] and with Cutler “Before the Play and After the Play” (a political satire). M. toured Eastern and western Europe with Modicut Yosl Cutler, an orphan, who\'d come to America in 1911 at age 15 with his older brother. Cutler thrived in his new home, blessed with skills in painting and writing, to which he soon added marionettes. In 1922, he made his literary debut in Abraham Reyzen\'s monthly journal New Yiddish. There he attracted the attention of noted playwright and dark humorist Moishe Nadir. The second artist and puppeteer Tworkow became friendly with was Zuni Maud, who\'d emigrated in 1905, a 14-year-old hopeful from Polish Lithuania. Though deeply educated in Cheder, Yeshiva and Talmud Torah, Maud followed his true interest and enrolled in Cooper Union\'s art program and at the Baron de Hirsch Art School. Soon he was doing satiric illustrations for The Kibbutzer, a socialist journal. He was also learning puppetry. Yosl Cutler was an artist of some distinction. He designed posters for Yiddish theater, inked cartoons for the Communist newspaper Morning Freiheit, and constructed puppets. In partnership with Zuni Maud, another artist, he wrote and produced satiric puppet shows that were wildly popular at the Yiddish Art Theater on the lower East Side of New York. He and Zuni traveled the U.S. and abroad presenting their puppet shows in the 1920s and early 1930s, including a trip to the USSR in 1932. Yosl Cutler died in car accident in June of 1935 near Iowa Falls, Iowa. He was on his way to Hollywood to make a film. He was so beloved, that 10,000 persons attended the funeral. Yosl was buried at the cemetery of the International Workers Order, now known as New Montefiore Cemetery. Artist, cartoonist, puppeteer, playwright, writer and poet. Studied at the Cooper Union Art School, Baron de Hirsch Art School and National Academy of Art, New York. Did illustrations for *Der kibitser* and stage and costume design for productions by Maurice Schwartz in the Yiddish Art Theater. Contributed articles to *Der kundes* (N.Y.), *Jewish Daily Forward* (N.Y.), *Di tsayt* (N.Y.), *Kinderland* (N.Y.), *Kinder zhurnal* (N.Y.), *Frayhayt* (N.Y.). Illustrator of a number of books. In 1925, together with Yosel Cutler, founded the \"Modicot\" marionette theater. Wrote plays, children\'s stories and poems. Born in the district of Grodno, Lithuania. Immigrated to the U.S. in 1905. As the Yiddish school systems blossomed in the 1920s, an accompanying literature developed in New York. The Sholem Aleichem Folk Instiute published Kinder Zhurnal [Children\'s Journal] from 1921 to the late 1970s. The editor for the first 15 years was the leading Yiddish literary critic Shmuel Niger. The Workman Cirlcle published Kinderland, and then Kinder Tsaytung [Children\'s Newspaper]. The communists schools published the monthly Yungvarg. Many of the leading Yiddish writers tried their hands at writing for children, and as a result, there are many masterpieces in these journals. The leading illustrators were Zuni Maud, Yosl Cutler, Aron Goodelman, Avreml, Saul Raskin, Note Koslovsky, Boris Aronson, Emanuel Romano, and Lola. They designed puzzles, games and comics, in addition to wonderul illustrations of stories. - TheYiddish Book Collection of the Russian Avant-Garde contains books publishedbetween the years 1912-1928 by many of the movement’s best known artists. Theitems here represent only a portion of Yale\'s holdings in Yiddish literature.The Beinecke, in collaboration with the Yale University library JudaicaCollection, continues to digitize and make Yiddish books available online. Withthe Russian Revolution of 1917, prohibitions on Yiddish printing imposed by theCzarist regime were lifted. Thus, the early post-revolutionary period saw amajor flourishing of Yiddish books and journals. The new freedoms alsoenabled the development of a new and radically modern art by the Russianavant-garde. Artists such as Mark Chagall, Joseph Chaikov, Issachar BerRyback, El (Eliezer) Lisitzsky and others found in the freewheeling artisticclimate of those years an opportunity Jews had never enjoyed before in Russia:an opportunity to express themselves as both Modernists and as Jews. Their artoften focused on the small towns of Russia and Ukraine where most of them hadoriginated. Their depiction of that milieu, however, was new and different. Jewishart in the early post-revolutionary years emerged with the creation of asecular, socialist culture and was especially cultivated by the Kultur-Lige,the Jewish social and cultural organizations of the 1920s and 1930s. Oneof the founders of the first Kultur-Lige in Kiev in 1918 was Joseph Chaikov, apainter and sculptor whose books are represented in the Beinecke’s collection.The Kultur-Lige supported education for children and adults in Jewishliterature, the theater and the arts. The organization sponsored artexhibitions and art classes and also published books written by the Yiddishlanguage’s most accomplished authors and poets and illustrated by artists whoin time became trail blazers in modernist circles. This brief flowering ofYiddish secular culture in Russia came to an end in the 1920s. As thepower of the Soviet state grew under Stalin, official culture became hostile tothe experimental art that the revolution had at first facilitated and evenencouraged. Many artists left for Berlin, Paris and other intellectual centers.Those that remained, like El Lisitzky, ceased creating art with Jewish themesand focused their work on furthering the aims of Communism. Tragically, many ofthem perished in Stalin’s murderous purges. The Artists Eliezer Lisitzky(1890–1941), better known as El Lisitzky, was a Russian Jewish artist,designer, photographer, teacher, typographer, and architect. He was one of themost important figures of the Russian avant-garde, helping develop Suprematismwith his friend and mentor, Kazimir Malevich. He began his careerillustrating Yiddish children\'s books in an effort to promote Jewish culture.In 1921, he became the Russian cultural ambassador in Weimar Germany, workingwith and influencing important figures of the Bauhaus movement. He broughtsignificant innovation and change to the fields of typography, exhibitiondesign, photomontage, and book design, producing critically respected works andwinning international acclaim. However, as he grew more involved with creatingart work for the Soviet state, he ceased creating art with Jewish themes. Amongthe best known Yiddish books illustrated by the artist is Sikhes Hulin by the writer andpoet Moshe Broderzon and Yingel Tsingle Khvat, a children’s book ofpoetry by Mani Leyb. Both works have been completely digitized and can befound here. Joseph Chaikov (1888-1979) was a Russian sculptor, graphic artist,teacher, and art critic. Born in Kiev, Chaikov studied in Paris from 1910to 1913. Returning to Russia in 1914, he became active in Jewish artcircles and in 1918 was one of the founders of the Kultur-Lige in Kiev. Thoughprimarily known as a sculptor, in his early career, he also illustrated Yiddishbooks, many of them children’s books. In 1921 his Yiddish book, Skulptur was published. In it,the artist formulated an avant-garde approach to sculpture and its place in anew Jewish art. It too is in the Beinecke collection. Another of thegreat artists from this remarkable period in Yiddish cultural history is IssacharBer Ryback. Together with Lisistzky, he traveled as a young man in the Russiancountryside studying Jewish folk life and art. Their findings made a deepimpression on both men as artists and as Jews and folk art remained an aofferinginfluence on their work. One of Ryback’s better known works is Shtetl, Mayn Khoyeverheym; a gedenknish (Shtetl, My destroyed home;A Remembrance), Berlin, 1922. In this book, also in the Beineckecollection, the artist depicts scenes of Jewish life in his shtetl (village) in Ukrainebefore it was destroyed in the pogroms which followed the end of World War I.Indeed, Shtetl is an elegy to thatworld. David Hofstein’s book of poems, Troyer (Tears), illustratedby Mark Chagall also mourns the victims of the pogroms. It was published by theKultur-Lige in Kiev in 1922. Chagall’s art in this book is stark and minimalistin keeping with the grim subject of the poetry. Chagall was a leading force inthe new emerging Yiddish secular art and many of the young modernist artists ofthe time came to study and paint with him in Vitebsk, his hometown. Lisistzkyand Ryback were among them. Chagall, however, parted ways with them when theirartistic styles and goals diverged. Chagall moved to Moscow in 1920 where hebecame involved with the newly created and innovative Moscow Yiddish Theater.Cite as: General Modern Collection, BeineckeRare Book and Manuscript Library, Yale University