Showing posts with label Marc Michael Epstein. Show all posts
Showing posts with label Marc Michael Epstein. Show all posts

Bird’s Head Haggadah Revealed - Richard McBee on Marc Michael Epstein

By: Richard McBee
Published: March 29th, 2012
 
Bird’s Head Haggadah Revealed 
The Medieval Haggadah: Art, Narrative & Religious Imagination. 

By Marc Michael Epstein, Yale University Press, New Haven and London 2011

McBee-033012-FrontPgThe Dura Europos synagogue murals (245 CE) evidenced the first great flowering of Jewish visual creativity, quickly followed by the creation of at least 17 synagogue mosaic floors in Palestine. The next efflorescence of Jewish art was found in illuminated manuscript production in Spain and Germany over 600 years later. In The Medieval Haggadah: Art, Narrative & Religious Imagination (2011), Marc Michael Epstein explores four seminal medieval Haggadot as paradigms of the creative relationship between sacred text and the Jewish visual imagination. 

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Shoshannah Brombacher & Yona Verwer presenting at the Jewish Museum


Two Jewish Art Salon members, Shoshannah Brombacher and Yona Verwer, will be presenting at the Jewish Museum. 

Brombacher will discuss The Portuguese (Marano) Jewish Community in 17th century Amsterdam; and Gravestone inscriptions at Bet Haim cemetery.

Verwer will speak about The Jewish Art Salon, her own art, and Dutch Jewish art today.


Monday November 7, 2011


Learn the little-known history of Jewish communities in The Netherland from the Renaissance to present day.


Speakers include:

Marc Michael Epstein's Medieval Haggadah


In his new work, The Medieval Haggadah: Art, Narrative and Religious Imagination, (Yale University Press 2011), Marc Michael Epstein explores four enigmatic, quirky, and interesting illuminated haggadot—manuscripts created for Jewish use at the home service of Passover Eve. These stunningly beautiful books include the earliest-known surviving illuminated haggadah, the Birds’ Head Haggadah, made in Mainz around 1300, in which many of the faces on the human figures depicted throughout the work are replaced with those of birds; the Golden Haggadah, from Barcelona, circa 1320-30,  the iconography of which seems so indisputably “formed in the image and likeness” of contemporary manuscripts made for Christians; and two Spanish “siblings,” the Rylands Haggadah and its so-called Brother, made between 1330 and 1340, which have historically been paired because of the similarity of their iconography and style.