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Introduction In his first West coast exhibition Jacob Pins brings us a splendid statement of personal artistic vision. Transcending national and cultural boundaries his work refutes certain criticisms raised against "provincialism" in Israeli art. Solidly rooted in European tradition, Pins draws inspiration from the multifaceted environment of the Holy land. He understands and loves his own people, but not exclusively so. Ever striving for connoisseurship, Pins has expanded his taste in many areas. Thus we are faced with the responsiveness ofahumanspirit. This is the lifeexperience of a man who knows the world. Ruth Eis Curator
May 5 - June 30, 1974 Judah L. Magnes Museum 2911 Russell, Berkeley, California
Among 'all printing techniques, the When, by the late 1940s, I came across woodcut is the oldest. There is proof that the Japanese coloured woodcuts, they the Chinese employed it as early as the gave me a new incentive to try myskill 8th century, but its origins lie even at this particular technique, using, for farther back. In the Occidental world, that matter, ordinary white-wood or fir it emerges not unti I about the year 1400. ' instead of the cherry employed by the , It goes through a late Renaissance' in \ .Japanese. To an ever increasing degree, both worlds, iri'the East finding expres;II made use of the texture ofthe wood, " , sion in the coloured wood-block 'prints of,)" '~?-kin.Q'it an' integral part of the picture .. ' 18th and 19th century Japan, while from .Ouestions .are often put to me as to the early part of thiscentury, it owes ' 0,hether the picture is determined by , to western expressionism its place of 'the. wood orthe woodby the picture. honour, and guidance on novel courses: Well, as with so many things in art, I first came into touch with the techno hard and fast rule can be given here. nique of wood-engraving while a student It comes about either way, and I readily with Steinhardt. From the very beginning admit.that ma,ny,a piece of wood has I felt a strong incl ination for it, findgiven me inspiration. ing in it an adequate meansof arti~tic Apart from' all I have said about expression. It calls for simplification coloilc.and wood structure, J h:avealwaYs·. and perceptive power. 'Toii ing on the tried to keep true to the 'Veryessence . , material pLis upan additional problem, 'ofthewoodcut, with its often dramatic which to solve is reeurrinq challenge. interaction of black and white. To be Each line cut into the.brittle wood is engaged in finding and realizing the final and does' not allow for correction or ultimate possibil ities of this abstraction wiping out. At first I practised the is particularly fascinating. The intense meticulous art of working in cross-cut light of the clear mountain air of Jerusa-; wood, but-this I soon found too limited. lem is, l.think, very well suited forthe Thus Ipwceeded to the larqe-taced woodcut, where there.is no room for soft grain-wood. ; , half-tones. Here, the play ohheshadqws in the bright landscape isthe sum I' ( and substance of th'e picture. Quite often, people on their first visit to Jerusalem, who had seen my work in Europe so far, assured me that only after seeing the daylight of Jerusalem they came to full appreciation of my , woodcuts.
For many years I have been teaching the woodcut at the Bezalel School of Art and Design, the most important art school in Israel. In this connection it is my belief that in teaching both the graphic and the free arts, the woodcut should be , an. instrument of great impqrtance. It trai r1S the student to self-control, makes him tookahead and gives a sensei of final ity and, therefore, of responsibil ity, all of these being faculties ofthe utmost importance to the young artist, yet lacking so often.
Jacob Pins Jerusalem
15. Bull II
27. The Tramp
2. Blind People
26. The Crowd
1. Fighting Beggars
16. Old Clown
19. Rider in the Desert
9. Lady with Gloves
Biography 1917 1936 till 1941 1941-1945 1949
Born in Germany Settled in Israel Kibbutz member Stud ied with Jacob Steinhardt, Jerusalem Co-founder of the "Jerusalem Artists" group and the "Jerusalem Artists house" Teacher at Bezalel school of arts and crafts Special envoy of the Foreign Ministry and the Israel Painters and Sculptors Association in Japan Collector of far eastern art
the Ohara Museum's prize at the 1st International Biennale of Prints in Tokyo Jerusalem prize Nominated honorary member of the Accademia delli Arti del Disegno at Florence
Publications Illustrations to "Michael Kohllhaas" by M. v. Kleist, Hebrew by Chartiner, Tarshish, Jerusalem, 1952 Illustrations to "Shlomiel Matza Tzel" by Yehuda Yaari, Tarshish, Jerusalem 1947 Jacob Pins, Landscapes, Dvir, Tel Aviv, 1955 Illustrations to Amos Oz "Ad Maveth," Tel Aviv, 1971 Pins, Woodcuts, Tel Aviv, 1972 One Man Shows Tel Aviv 1945,1946,1949,1952,1956, 1967, 1972, 1970 Jerusalem 1953, 1956, 1960, 1965, 1967 Haifa 1954, 1958 Public Library Boston, Mass., USA 1953 U.S. National Museum, Washington, D.C. 1954 London 1955, 1964 New York 1959 Zurich 1960 Bogota 1962 Melbourne 1963 Sydney 1964 San Jose, Costa Rica 1968 Amsterdam 1969
Group Shows 1955 Black and White Biennale, Lugano, Switzerland 1957 Annual Exhibition of the Society of Woodengravers, London 1959-1961 Biennale of Graphic Art, Ljubljana, Yugoslavia 1959-1962 Xylon International Woodcut Exhibition, Schaffhausen, Berl in, Gelsenkirchen, Ljubljana 1960 XXX Biennale, Venice 1962 Israel Graphic Exhibition, Tokyo 1962 30th Exhibition of the Japanese Print Association, Tokyo 1962 Israel Graphic, Ljubljana, Yugoslavia 1964-1965 Israel Graphic, Warshaw, Poland and Moscow, Russia 1965 Israel Graphic, Melbourne, Sydney, Adelaide (Austral ia) 1968 1st International Exhibition of Original Drawings, Rijeka, Yugoslavia 1968 1st Biennale, Florence 1969 Xylon 1st Int. Triennale of Contemporary Woodcuts, Capri, Italy 1970 2nd Biennale, Florence 1972 3rd Biennale, Florence
Collections Israel Museum, Jerusalem Municipality Museum of Modern Art, Haifa Museum Tel Aviv Metropolitan Museum, New York Museum of Modern Art, New York Museum of Fine Arts, Boston Fogg Art Museum, Cambridge, Mass. U.S. National Museum, Washington, D.C. Library of Congress, Washington, D.C. Ohara Museum, Japan Lessing Rosenwald Coli., National Gallery of Art, Washington, D.C. National Gallery of Victoria, Melbourne (Austral ia) Fort Wayne Museum of Art, Fort Wayne Art Institute of Chicago, Chicago Jewish Museum, New York Public Library, Boston Public Library, Malden, Mass. National Gallery of N.S.W., Sydney Gallery of Art, Geelong (Australia) National Museum, Warshaw, Poland Museum Pushkin, Moscow, Russia Stedelijk Museum, Amsterdam
13. Snow in the Garden
Catalog Listing 1. Fighting Beggars, 1955, 13/15 2. Blind People, 1957, 5/22 3. Death of a Boat, 1960, 30/40 4. Umbrellas, 5. Crucified 1961, 32/35 Clown, 1961, 27/30 1964, 12/40
25. Roofs, 1972, 5/40 26. The Crowd, 1972, 6/40 27. The Tramp, 1973, 1/18 28. The Fat Man, 1973, 1/30 29. Town Silhouette, 31. Birds, 1973, 1/45 32. Youth, 1973, 2/30 33. Tents in the Desert, 1973, 6/40 34. Prophet, 1973, 3/40 1973, 1/40 30. Poles in the Water, 1973, 2/40
6. Tiger, 1962, 23/28 7. Scarecrow, 8. Landscape with Moon, 1964, 29/40 9. Lady with Gloves, 1964, 37/40 10. The Road, 1966,34/45 11. Moon over Jerusalem, 1967,32/42 12. Shiloah, 1967, 28/42 13. Snow in the Garden, 1968, 15/30 14. On the Road, 1968, 41/42 15. Bull II, 1968, 33/45 16. Old Clown, 1968, 38/42 17. Rioting Mob, 1969, 6/40 18. Old City, 1969, 42/50 19. Rider in the Desert, 1969, 32/50 20. The Cry, 1970, 2/18 21. Rooster, 1970, 22/40 22. Coast near Elath, 1970, 10/45 23. Into the Desert, 1970, 20/35 24. Boat, 19p2, 16/50
Catalogue design: Shoshana Levinson Photography: Israel Kayatsky
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