1939 Jewish YIDDISH BOOK Like KULTURE LIGE Russian AVANT GARDE Goodelman JUDAICA

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DESCRIPTION : Inspite his RUSSIAN descent , culture and education 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 ARTIST , Illustrator, Sculptor , Etcher AARON J. GOODELMAN is not included in the category of AVANT GARDE ARTISTS , However , One short look in this 1939 illustrated YIDDISH BOOK in front of us , Not to mention the enormous scope and variety of his artistic creation , GOODELMAN 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 . The YIDDISH children book was published in NYC in 1939 by the ” KINDER RING FARLAG ” in NYC USA . Limited 2nd edition of only 3000 copies. It is named ” ALE MAMES ZAYNEN SHEYN ” . Very nicely illustrated ( full page illustrations ) and cute VIGNETTES by AARON J. GOODELMAN . YIDDISH text. Original illustrated HC with gilt headings and decorations . 6 x 8″ . 48 pp. Very good condition. Used. Cover very slightly worn. Tightly bound. Clean . ( Pls look at scan for accurate AS IS images ) Will be sent inside a protective packaging .PAYMENTS : Payment method accepted : Paypal & All credit cards . SHIPPMENT : SHIPP worldwide via registered airmail is $ 29 . Book will be sent inside a protective packaging . Will be sent around 5-10 days after payment . Aaron J. Goodelman Name Aaron J. Goodelman Also Known as Aaron Goodelman Born Ataki, Russia 1890 Died New York, New York 1978 Active in Hurleyville, New York Nationalities American U.S. States New York URL Linked Open Data Linked Open Data URI Artist Biography Goodelman was a sculptor, illustrator, etcher, lecturer, and teacher. Born in Russia, he immigrated to New York in 1905 at the time of pogroms in Russia. After attending the Cooper Union and the National Academy of Design, in 1914 he studied with Jean-Antoine Injalbert at the Ecole des Beaux-Arts in Paris. Supporting himself as a machinist in the 1920s, Goodelman became a communist. His conerns about social and economic conditions were expressed in his art. He participated in exhibitions at the John Reed Club in the early 1930s. After World War II, Goodelman created artworks related to the Holocaust. He taught at City College of New York in the 1960s. National Museum of American Art (CD-ROM) (New York and Washington D.C.: MacMillan Digital in cooperation with the National Museum of American Art, 1996) Luce Artist Biography Aaron Goodelman grew up in Russia and studied at an art school in Odessa. After graduating, he moved to New York and attended the Cooper Union, the National Academy of Design, and the Beaux-Arts Institute of Design, working during the day to support himself. He traveled to Paris for a brief time, but was forced to return to America at the outbreak of World War I. He was a member of the Yiddish branch of the Communist Party, and art editor for YKUF, a Jewish cultural magazine. He taught at the Jefferson School of Social Science for many years, and was a founding member of the Society of American Sculptors. Goodelman created sculptures in wood, metal, and stone, and illustrated many children’s books in English and Yiddish. ***** Aaron J. Goodelman, a sculptor whose work is represented in institutions in this country and in Israel, died Wednesday at the Flushing Manor for the Aged. He was 90 years old last Saturday and lived in the Bronx. Mr. Goodelman, aversatile artist, also illustrated children’s books inEnglish and in Yiddish. He had participated. in numerous art exhibitions since his first ane‐man show at the Dorothy Paris Gallery in 1935. He taught at local colleges in the 1930’s and directed the Goodelman Sculptor Work Shop. . He worked in wood and metal as well as stone, and his sculptures are in collections of the Jewish Theological Seminary, Hebrew Union College and the Skirball Museum in Los Angeles, as well as the EM Harod Museum, Tel Aviv Museum and the Habima Theater, all in Israel.****** Aaron J. GOODELMAN (1890-1978) Birth place: Attaki, Bessarabia, Russia Addresses: NYC Profession: Sculptor, teacher, lecturer Studied: CUA School, 1905-12; NAD, 1909-10 with Gutzon Berglum, George Brewster and Jo Davidson; …cole des Beaux-Arts, Paris; BAID; J. MacNeil; J. Injalbert. Exhibited: CUA School., 1910-13 (medals); BAID, 1914-16 (prizes); Soc. Beaux-Arts Arch., 1914 (medal); 1915 (prize), 1916 (prize); PAFA, 1919, 1926, 1934; MoMA; Soc. Indep. Artists, 1920, 1925, 1931-32; Salons of Am., 1929, 1931; John Reed Club Exhib., 1930s; 8th Street Gal., 1933 (solo); WMAA, 1933-51; WFNY, 1939; BM; CI; PMA; AIC; MMA; Sculptors Gld., annually; An Am. Group; ACA Gal., 1942, 1946 (solo),1956-58; Audubon Artists annually, 1955 (prize); Art:USA, 1958; AEA; Judah L. Magnes Mus., Berkeley, 1965 (retrospective). Member: Sculptors Gld.; Audubon Artists; AEA; Plastic Club; Soc. Indep. Artists; Am. Artists Congress (nat. exec. Committee); Jewish AC; Un. Am. Artists; An Am. Group; Art Lg. Am.;New Jersey Soc. P&S. Work: Eastern Mus., Russia; Jewish Theological Library, NY; Library Jefferson Sch. Social Science; Project Houses, Wash., DC; Ein-Harod, Tel-Aviv Mus., Israel; many mem., monuments, busts & arch. sculptures; Victory Building,” Toronto; Classic Theatre; Gabel’s Theatre; Sholem Alachem Foil & Inst. ” Comments: He expressed his social and political views through his art, using a variety of materials, styles, and techniques. Illustrator for newspapers & journals, children’s textbooks; lecturerer on sculpture to educational groups.Teacher, CCNY; Jefferson School Soc. Science. Contributor of sculpture photographs to Sculpture in Wood, John Rood; Jewish Sculptors, Carl Schwartz.***** Аарон Гудельман (Арон Иосифович Гудельман, англ. Aaron J. Goodelman;[1] 1 апреля 1890, Атаки, Сорокский уезд, Бессарабская губерния — 5 апреля 1978, Нью-Йорк) — американский художник, скульптор и книжный график. Содержание [скрыть] 1Биография 2Семья 3Ссылки 4Примечания Биография[править | править вики-текст] Родился в местечке Атаки, в Сорокском уезде Бессарабии[2], где его отец — еврейский поэт Иосеф Гудельман(1862—1947) — был директором русской школы. Мать — Молка Фателес (англ. Mollie Goodelman, 1865—1947). Учился в религиозной и светской школах, художественной школе и коммерческом училище в Одессе (1902—1904)[3]. В 1905 году эмигрировал в США с двумя братьями — Эршом и Исрулом-Мортхе (стал гражданином в 1916 году)[4]. Занимался в Институте Купер Юнион (Cooper Union) и Национальной академии дизайна с 1905 по 1912 год. Затем учился в Школе изящных искусств (L’Ecole des Beaux Arts) в Париже и архитектурном Обществе изящных искусств в Нью-Йорке с 1914 по 1916 год. Роден был одним из тех, кто оказал влияние на творчество художника. Среди его работ — фасад Народной школы Шолом-Алейхема (на идише) в Нью-Йорке. Аарон Гудельман также был художником-оформителем еврейских детских журналов и многих сборников поэзии на идише[5]. Его первая персональная выставка состоялась в Нью-Йорке, в 1933 году. Один из основателей объединения New York Artists Equity. Семья[править | править вики-текст] Братья — Эршл (Гершл) Гудельман (англ. Harry J. Goodelman, 1892—1967), драматург, поэт, редактор периодических изданий на идише[6]; Исруэл-Мортхе Гудельман (англ. Israel M. Goodelman, 1886—1966) — детский писатель и педагог (идиш)[7]. Ссылки[править | править вики-текст] bent.tumblr.com/post/91980637/aaron-j-goodelman-april-1-1890-1978-happy siris-archives.si.edu/ipac20/ipac.jsp?uri=full=3100001~!210475!0#focus Примечания[править | править вики-текст] ↑ Варианты имени — Aron Goudelmann, A. J. Goodelman, A. Goodleman. ↑ GOOD, EDWARD (MOYSHE OYVED) /book/ Volume 5, The Universal Jewish Encyclopedia preview ebook online offline pdf free ↑ Who’s Who in American Jewry ↑ У него были также сёстры Сара, Ида (1896) и Клара. ↑ Smithsonian American Art Museum: Aaron J. Goodelman ↑ Museum of Family History ↑ Еврейский лексикон ***** 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. – The Yiddish Book Collection of the Russian Avant-Garde contains books published between the years 1912-1928 by many of the movement’s best known artists. The items here represent only a portion of Yale’s holdings in Yiddish literature. The Beinecke, in collaboration with the Yale University library Judaica Collection, continues to digitize and make Yiddish books available online. With the Russian Revolution of 1917, prohibitions on Yiddish printing imposed by the Czarist regime were lifted. Thus, the early post-revolutionary period saw a major flourishing of Yiddish books and journals. The new freedoms also enabled the development of a new and radically modern art by the Russian avant-garde. Artists such as Mark Chagall, Joseph Chaikov, Issachar Ber Ryback, El (Eliezer) Lisitzsky and others found in the freewheeling artistic climate of those years an opportunity Jews had never enjoyed before in Russia: an opportunity to express themselves as both Modernists and as Jews. Their art often focused on the small towns of Russia and Ukraine where most of them had originated. Their depiction of that milieu, however, was new and different. Jewish art in the early post-revolutionary years emerged with the creation of a secular, socialist culture and was especially cultivated by the Kultur-Lige, the Jewish social and cultural organizations of the 1920s and 1930s. One of the founders of the first Kultur-Lige in Kiev in 1918 was Joseph Chaikov, a painter and sculptor whose books are represented in the Beinecke’s collection. The Kultur-Lige supported education for children and adults in Jewish literature, the theater and the arts. The organization sponsored art exhibitions and art classes and also published books written by the Yiddish language’s most accomplished authors and poets and illustrated by artists who in time became trail blazers in modernist circles. This brief flowering of Yiddish secular culture in Russia came to an end in the 1920s. As the power of the Soviet state grew under Stalin, official culture became hostile to the experimental art that the revolution had at first facilitated and even encouraged. Many artists left for Berlin, Paris and other intellectual centers. Those that remained, like El Lisitzky, ceased creating art with Jewish themes and focused their work on furthering the aims of Communism. Tragically, many of them 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 the most important figures of the Russian avant-garde, helping develop Suprematism with his friend and mentor, Kazimir Malevich. He began his career illustrating Yiddish children’s books in an effort to promote Jewish culture. In 1921, he became the Russian cultural ambassador in Weimar Germany, working with and influencing important figures of the Bauhaus movement. He brought significant innovation and change to the fields of typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim. However, as he grew more involved with creating art work for the Soviet state, he ceased creating art with Jewish themes. Among the best known Yiddish books illustrated by the artist is Sikhes Hulin by the writer and poet Moshe Broderzon and Yingel Tsingle Khvat, a children’s book of poetry by Mani Leyb. Both works have been completely digitized and can be found here. Joseph Chaikov (1888-1979) was a Russian sculptor, graphic artist, teacher, and art critic. Born in Kiev, Chaikov studied in Paris from 1910 to 1913. Returning to Russia in 1914, he became active in Jewish art circles and in 1918 was one of the founders of the Kultur-Lige in Kiev. Though primarily known as a sculptor, in his early career, he also illustrated Yiddish books, 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 a new Jewish art. It too is in the Beinecke collection. Another of the great artists from this remarkable period in Yiddish cultural history is Issachar Ber Ryback. Together with Lisistzky, he traveled as a young man in the Russian countryside studying Jewish folk life and art. Their findings made a deep impression on both men as artists and as Jews and folk art remained an abiding influence on their work. One of Ryback’s better known works is Shtetl, Mayn Khoyever heym; a gedenknish (Shtetl, My destroyed home; A Remembrance), Berlin, 1922. In this book, also in the Beinecke collection, the artist depicts scenes of Jewish life in his shtetl (village) in Ukraine before it was destroyed in the pogroms which followed the end of World War I. Indeed, Shtetl is an elegy to that world. David Hofstein’s book of poems, Troyer (Tears), illustrated by Mark Chagall also mourns the victims of the pogroms. It was published by the Kultur-Lige in Kiev in 1922. Chagall’s art in this book is stark and minimalist in keeping with the grim subject of the poetry. Chagall was a leading force in the new emerging Yiddish secular art and many of the young modernist artists of the time came to study and paint with him in Vitebsk, his hometown. Lisistzky and Ryback were among them. Chagall, however, parted ways with them when their artistic styles and goals diverged. Chagall moved to Moscow in 1920 where he became involved with the newly created and innovative Moscow Yiddish Theater. Cite as: General Modern Collection, Beinecke Rare Book and Manuscript Library, Yale University כאװער־פאװערס מעשהלאך / Khaṿer-Paṿers mayśelakh Author:כאװער־פאװער, 1901־1964. אילוסטרירט פון אהרן גודעלמאן. גודעלמאן, אהרן. ; Chaver-Paver; Aaron J Goodelman; Sholem Aleichem Folk Institute (New York, N.Y.) Publisher:ארױסגעגעבן פון פארלאג ״מתנות״ באם שלום עליכם פאלק אינסטיטוט, Nyu Yorḳ : Aroysgegebn fun farlag Matones̀ bam Sholem Aleykhem Folḳ-Insṭiṭuṭ, 1925. Edition/Format: Print book : Fiction : Juvenile audience : YiddishView all editions and formats Database:WorldCat Rating: (not yet rated) 0 with reviews – Be the first. Subjects Children’s stories, Yiddish. More like this Sholem Aleichem Folk Institute/Workman Circle Shuln The Yiddish schools in America were always supplemental schools, meeting several times a week after public schools. This was a major difference between the Yiddish schools in Poland which were, if chosen by the parents, the primary day school of the child, and the Yiddish schools in America which never developed a single Yiddish day school. One graduated the folkshul, the equivalent of sixth grade, at age 12, then proceeded to mitlshul, middle school, for several years once or twice a week, and then went on to a upper level Seminary. On the political spectrum of the Yiddish cultural world in the 1920s and 1930s, the Sholem Aleichem Folk Institute and its schools, and the Yiddish camp,Camp Boiberik, were more to the right, with less emphasis on socialism and more stress on the humanistic values that can be learned from traditional Judaism and applied to the modern Jewish experience. Founded in 1918, the Institute lasted until the 1970s, and was a national movement which attained its greatest support in the 1930s. The Workman’s Circle [Arbeter-Ring] was a socialist fraternal organization founded in 1900 which still exists today. Its secular school system began soon after the Sholem Aleichem Folk shuln. In the late 1920s, many, if not most, of the shuln broke off and eventually formed the leftist Arbeter Ordn Shuln. Yet the Workman Circle survived the division and became the largest of the shuln networks. Their socialist agenda faded in the 1950s, and they, like the Sholem Aleichem schools, stressed the postive aspects of Yiddish language and culture……..Gershon Einbinder, who wrote under the penname Chaver Paver, was born in 1901 to a family of wealthy logging merchants in Bershad, a small town in the southeastern portion of the Russian empire (now Ukraine). He received a traditional religious education, attending a local cheder and Yeshiva, but left home in 1919 when, in the wake of the Russian Revolution, Bolshevik forces battled with militant gangs affiliated with the White Army for control of the region, resulting in a series of violent attacks on Bershad’s Jewish population. He moved to Romania, where he worked as a teacher and began writing stories for his young students. In 1923, he immigrated to the United States, settling in New York where he published his first two volumes of children’s stories, Mayselekh fun Khaver Paver. He taught in the Yiddish schools run by the International Workers Order (IWO), a left-wing mutual-aid based fraternal organization, and used his talents to write curriculum and plays for use in IWO schools across the country. In 1935, the IWO published Einbinder’s most well-known work, Labzik: mayselekh vegn klugn hintele (Labzik: Stories of a Clever Puppy), featuring the humorous adventures of Labzik the dog and his young owners as they navigated the streets of New York City, fighting against crooked politicians, brutish policemen and greedy employers, and learning lessons about social justice along the way. Following the publication of Labzik, Einbinder moved to Los Angeles, where he lived until his death in 1964. He continued his work with the IWO Yiddish schools but often struggled financially, relying on his fellow writers and friends affiliated with the IWO to support his writing. During Einbinder’s over twenty-five years in Los Angeles, “The Chaver Paver Book Committee” helped to publish a half dozen of his works, including several books and plays about Jewish immigrant life in New York, a novel about Jewish Partisans in Poland during the Second World War, a sequel to Labzik staring his offspring Vovik, and two autobiographical accounts of his life, Gershon meyer dem blindsn and Gershon in Amerike. These works, as his friend Itche Goldberg described, reflected Einbinder’s skills as a storyteller, examining the lives of “the average Jews, ‘di Yidn fun a gants yor,’” with compassion, candor and a rhythmic style reminiscent of “the old folktale to be listened to rather than read.” [Introduction to Clinton Street, p. ix, xi.] Zalmen and his wife Goldie In 1955, the Book Committee published Einbinder’s novel Zalmen der shuster (Zalmen the Cobbler), an epic account of the immigrant experience based on the lives of a couple he had met in Los Angeles, Zalmen and his wife Goldie, and one of Einbinder’s only works which included stories about Jewish life in the city. The book is structured as a conversation between Zalmen and the author in which Zalmen shares tales from his sixty years in America in two parts: the first which describes his departure from Europe and struggles with poverty as he adjusts to life in New York, and the second in which he leaves New York with his wife and children and travels through Texas to Nashville, where he opens his own cobbler shop and mingles with his black and white neighbors, and then on to Los Angeles, where he buys a house, reunites with old friends, and lives happily for the rest of his life. Zalmen offers a vivid description of the Yiddish-speaking community in Los Angeles – the streets of Boyle Heights, Yiddish lectures downtown, hikes on Mt. Wilson and trips to “the Jewish beach.” Because he did not include Los Angeles in his subsequent autobiographical works, Einbinder’s novel Zalmen der shuster provides the closest accounting of the characters and communities he encountered during his years there. This path showcases Einbinder’s stories about Los Angeles from Zalmen der shuster, translated by Caroline Luce with assistance from Hershl Hartman. To recreate the style of his children’s books, Evelyn Rucker has crafted a delightful set of illustrations to accompany each story. You can enjoy these stories and by following the path below. ebay4189

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