Original HAND SIGNED Hebrew NAIVE ART OIL PAINTING Judaica ISRAEL Jewish ARTIST

Description

DESCRIPTION
: Here for sale is an excellent LARGE HAND SIGNED OIL ( Or ACRILIC ) PAINTING - Jewish NAIVE ART PIECE by the Israeli Jewish NAIVE ARTIST of Poilsh descent MENACHEM MESSINGER (
1898-1987
).
Menachem Messinger born in a small villige neer Zamość, Poland, to Jewish religious Family. In Poland he was Active in local Yiddish theatre and made Carved wood Canes. In 1932 he Imigarte to the Land of Israel and Settel in Haifa, where he work in Construction. In 1967 he started to paint as naive artist at age of 70.
The PAINTING was painted in a typical NAIVE ART STYLE with much strong and vivid colors.
The PIECE is painted on a heavy stock. HAND SIGNED in GILT COLOR in HEBREW and ENGLISH
.
Size of the LARGE stock sheet is around 24 x 32 ". Very g
ood condition. Perfectly clean and fresh. The gray spots at margins are painted - not stains.
( Pls look at scan for accurate AS IS images )
.
W
ill be sent rolled inside a protective sealed tube .
AUTHENTICITY
: This is the ORIGINAL PAINTING ( OIL or ACRILIC )  , NOT a reproduction or a reprint  , The LITHOGRAPHand Sheynfeld's hand signed SIGNATURE - AUTOGRAPH hold a life long GUARANTEE for their AUTHENTICITY and ORIGINALITY.
PAYMENTS
: Payment method accepted : Paypal .
SHIPPMENT
: SHIPP worldwide via registered airmail is . Will be sent inside a protective tube
.
Handling around 5 days after payment.
Menachem Messinger – the Naïve 80–Year–Old by Ariela Reuveni Translated by Yocheved Klausner   Messinger with his paintings: Peace in bright colors   The naïve painter Menachem Messinger from Haifa, who reached these days the age of eighty, chose to mark his birthday by two exhibitions: at the Goldman Gallery in Haifa and the 131/2 Gallery in Tel Aviv. The main topic of the two exhibitions is Peace, whose symbols in Messinger's eyes are the clear–white dove and a white, winged horse, on the background of Jerusalem. The dominant colors in Messinger's later paintings are light blue, yellow, silver and gold. Menachem Messinger was born in a small town in Poland, to a family of blacksmiths, who, for many generations made ritual objects for synagogues and churches. This was probably the source of his name Messinger – blacksmith. In his childhood he went to the heder, and at the age of 11 he had to help with earning a living for his family. He did that by carving walking sticks. His friends relate that as a young boy he showed interest in music and poetry and was very observant, and sensitive to various landscapes. In 1932, he made Aliya and made a living mostly by working in the building and construction business. Only at the age of 70 did he begin to paint, after recovering from a heart attack. His first paintings, in which he paid meticulous attention to the minutest detail, are reminiscent of Persian art. He painted birds, flowers, angels and prayer–houses. He also painted bible stories and legends, with palaces, kings, castles and witches. Only several months after he began using brush and palette, his daughter Hannah arranged an exhibition in Haifa. Hannah, a former movie actress, became his manager and made every effort to publicize his work. Hannah was helped by professional public relations firms, and more exhibitions followed in Israel and abroad. Today, Messinger's works are found in private collections and in museums in Israel, USA, France and Brazil. Several months ago, the artist won first prize in a competition on the topic “the sea.” The elderly artist willingly consents when asked to explain his paintings and symbols. Some of his themes are drawn from the Gimatria [the numerical values of the Hebrew letters]. For example, in the 30th year of the State of Israel he finds hints to the much awaited peace, and reflects that in his paintings. Patiently and carefully, he explains his calculations, with examples. The angel that appears in many of his paintings symbolizes the spirit of the prophet Eliyahu [Elijah], the prophet of peace. The white horse is the horse of Eliyahu, who will come to us, God willing, together with the Messiah. Some of the art critics, in Israel and abroad, praise Messinger's works and some even compare him to Grandma Moses in the United States and Rousseau in France. However, he is not nostalgic; in painting he sees a tool that may improve and beautify the world in which we live. “Messinger is unique in that he uses visual language to express ideas that we can usually find only in written text” – writes a critic in Brazil. A critic in Israel observes that Messinger draws his inspiration from the Bible, Jewish history and the geography of Israel, as well as from secular events. His landscapes remind one, she said, of antique paintings by pilgrims in the Holy Land. The paintings in the present exhibition, whose topic is, as mentioned above, peace, differ from Messinger's earlier works. Personally, I think that they lack some of the naïve authenticity, childhood charm and extended imagination that characterized his earlier paintings. The exaggerated use of the colors yellow, blue, gold and silver impaired, in my opinion, the quality of the paintings and removed some of the legend–like beauty that characterized his earlier paintings.****Naïve art is usually defined as visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing).[1] When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art,[2] or faux naïve art.[3] Unlike folk art, naïve art does not necessarily derive from a distinct popular cultural context or tradition;[1] indeed, at least in the advanced economies and since the Printing Revolution, awareness of the local fine art tradition has been inescapable, as it diffused through popular prints and other media. Naïve artists are aware of "fine art" conventions such as graphical perspective and compositional conventions, but are unable to fully use them, or choose not to. By contrast, outsider art (art brut) denotes works from a similar context but which have only minimal contact with the mainstream art world. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness.[4] Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective.[5] One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. The definition of the term, and its "borders" with neighbouring terms such as folk art and outsider art, has been a matter of some controversy. Naïve art is a term usually used for the forms of fine art, such as paintings and sculptures, but made by a self-taught artist, while objects with a practical use come under folk art. But this distinction has been disputed.[6] Another term that may be used, especially of paintings and architecture, is "provincial", essentially used for work by artists who had received some conventional training, but whose work unintentionally falls short of metropolitan or court standards. Contents 1 Characteristics 2 Movements 2.1 Earth Group 2.2 Hlebine School 3 Artists 3.1 18th century 3.2 19th century 3.3 20th century 4 Museums and galleries 5 See also 6 References 7 Further reading Characteristics[edit] Alfred Wallis, 1942, before Noah's Ark Naïve art[7] is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. The characteristics of naïve art are an awkward relationship to the formal qualities of painting, especially not respecting the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance): Decrease of the size of objects proportionally with distance, Muting of colors with distance, Decrease of the precision of details with distance, The results are: Effects of perspective geometrically erroneous (awkward aspect of the works, children's drawings look, or medieval painting look, but the comparison stops there) Strong use of pattern, unrefined color on all the plans of the composition, without enfeeblement in the background, An equal accuracy brought to details, including those of the background which should be shaded off. Simplicity rather than subtlety are all supposed markers of naïve art. It has, however, become such a popular and recognizable style that many examples could be called pseudo-naïve. Whereas naïve art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, 'pseudo naïve' or 'faux naïve' art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original. Strict naïvety is unlikely to be found in contemporary artists, given the expansion of Autodidactism as a form of education in modern times. Naïve categorizations are not always welcome by living artists,[8][9] but this is likely to change as dignifying signals are known. Museums devoted to naïve art now exist in Kecskemét, Hungary; Kovačica, Serbia; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. Examples of English-speaking living artists who acknowledge their naïve style are: Gary Bunt,[10] Lyle Carbajal,[11] Gabe Langholtz,[12] Gigi Mills,[13] Barbara Olsen,[14] Paine Proffitt,[15] and Alain Thomas.[16] "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, subsaharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee).[17] Movements[edit] Nobody knows exactly when the first naive artists appeared on the scene, as from the very first manifestations of art right up to the days of the "Modern Classic", naive artists quite unconsciously bequeathed us unmistakable signs of their creative activity. At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since – at the very latest – the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries.[18] Earth Group[edit] The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group was Marxist in orientation and was partly modelled on "Neue Sachlichkeit",[19] leading to more stylized forms, and the emergence of Naive painting. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. The Earth group searched for answers to social issues. Their program emphasised the importance of independent creative expression, and opposed the uncritical copying of foreign styles. Rather than producing art for art's sake, they felt it ought to reflect the reality of life and the needs of the modern community. Activities at the group's exhibitions were increasingly provocative to the government of the day, and in 1935 the group was banned.[20] Hlebine School[edit] A term applied to Croatian naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. At this time, according to the World Encyclopedia of Naive Art (1984), the village amounted to little more than 'a few muddy winding streets and one-storey houses', but it produced such a remarkable crop of artists that it became virtually synonymous with Yugoslav naive painting.[21] Hlebine is a small picturesque municipality in the North of Croatia that in 1920s became a setting against which a group of self-taught peasants began to develop a unique and somewhat revolutionary style of painting. This was instigated by leading intellectuals of the time such as the poet Antun Gustav Matoš and the biggest name in Croatian literature, Miroslav Krleža, who called for an individual national artistic style that would be independent from Western influences. These ideas were picked up by a celebrated artist from Hlebine – Krsto Hegedušić and he went on to found the Hlebine School of Art in 1930 in search of national “rural artistic expression”.[22] Ivan Generalić was the first master of the Hlebine School, and the first to develop a distinctive personal style, achieving a high standard in his art.[23] After the Second World War, the next generation of Hlebine painters tended to focus more on stylized depictions of country life taken from imagination. Generalić continued to be the dominant figure, and encouraged younger artists, including his son Josip Generalić. The Hlebine school became a worldwide phenomenon with the 1952 Venice Biennale and exhibitions in Brazil and Brussels.[24] Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius.    ebay5321