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RuthEisCurator
MasterWoodcutsbyJacobPins
IntroductionInhisfirstWestcoastexhibitionJacobPinsbringsusasplendidstatementofpersonalartisticvision.Transcendingnationalandculturalboundarieshisworkrefutescertaincriticismsraisedagainst"provincialism"inIsraeliart.SolidlyrootedinEuropeantradition,Pinsdrawsinspirationfromthemulti-facetedenvironmentoftheHolyland.Heunderstandsandloveshisownpeople,butnotexclusivelyso.Everstrivingforconnoisseurship,Pinshasexpandedhistasteinmanyareas.Thuswearefacedwiththeresponsivenessofahumanspirit.Thisisthelife-experienceofamanwhoknowstheworld.May5-June30,1974Judah
L.
MagnesMuseum2911Russell,Berkeley,California
 
Among'allprintingtechniques,theWhen,bythelate1940s,Icameacrosswoodcutistheoldest.ThereisproofthattheJapanesecolouredwoodcuts,theytheChineseemployeditasearlyasthegavemeanewincentivetotrymyskill8thcentury,butitsoriginslieevenatthisparticulartechnique,using,forfartherback.IntheOccidentalworld,thatmatter,ordinarywhite-woodorfiritemergesnotuntiIabouttheyear1400.'insteadofthecherryemployedbythe,ItgoesthroughalateRenaissance'in\.Japanese.Toaneverincreasingdegree,bothworlds,iri'theEastfindingexpres;-IImadeuseofthetextureofthewood,",sioninthecolouredwood-block'printsof,)"'~?-kin.Q'itan'integralpartofthepicture..'18thand19thcenturyJapan,whilefrom.Ouestions.areoftenputtomeastotheearlypartofthiscentury,itowes'0,hetherthepictureisdeterminedby,towesternexpressionismitsplaceof'the.wood
orthe
woodbythepicture.honour,andguidanceonnovelcourses:Well,aswithsomanythingsinart,Ifirstcameintotouchwiththetech-nohardandfastrulecanbegivenhere.niqueofwood-engravingwhileastudentItcomesabouteitherway,andIreadilywithSteinhardt.Fromtheverybeginningadmit.thatma,ny,apieceofwoodhasIfeltastronginclinationforit,find-givenmeinspiration.inginitanadequatemeansofarti~ticApartfrom'allIhavesaidaboutexpression.Itcallsforsimplificationcoloilc.andwoodstructure,
J
h:avealwaYs·.andperceptivepower.'Toiiingonthetriedtokeeptruetothe'Veryessence.,materialpLisupanadditionalproblem,'ofthewoodcut,withitsoftendramaticwhichtosolveis
a
reeurrinqchallenge.interactionofblackandwhite.TobeEachlinecutintothe.brittlewoodisengagedinfindingandrealizingthefinalanddoes'notallowforcorrectionorultimatepossibilitiesofthisabstractionwipingout.AtfirstIpractisedtheisparticularlyfascinating.Theintensemeticulousartofworkingincross-cutlightoftheclearmountainairof
Jerusa-;
wood,but-thisIsoonfoundtoolimited.lemis,l.think,verywellsuitedfortheThusIpwceededtothelarqe-tacedwoodcut,wherethere.isnoroomforsoftgrain-wood.;,half-tones.Here,theplayohheshadqwsinthebrightlandscapeisthesumandsubstance
of
th'epicture.Quiteoften,peopleontheirfirstvisittoJerusalem,whohadseenmyworkinEuropesofar,assuredmethatonlyafterseeingthedaylightofJerusalemtheycametofullappreciationofmy,woodcuts.
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FormanyyearsIhavebeenteachingthewoodcutattheBezalelSchoolofArtandDesign,themostimportantartschoolinIsrael.Inthisconnectionitismybeliefthatinteachingboththegraphicandthefreearts,thewoodcutshouldbe,an.instrumentofgreatimpqrtance.Ittrai
r1S
the
student
toself-control,makeshimtookaheadandgivesasenseioffinalityand,therefore,ofresponsibility,allofthesebeingfacultiesoftheutmostimportancetotheyoungartist,yetlackingsooften.
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JacobPinsJerusalem
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