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Images reprinted with permission from the Ardon Estate.
Mordecai Ardon’s painting Sarah (1947) depicts the biblical matriarch in a blazing red dress, amidst a sea of blue-purple cloudy forms. Sarah’s arms reach for her face, but they more closely resemble animals’ claws readying themselves to tear her face apart. The anguish is appropriate. Sarah is standing over her son Isaac, who is bound and ready for slaughter.
Richard McBee has suggested that Ardon’s Sarah “is an early Israeli reaction to the Holocaust that harnesses the biblical metaphor of the tragic outcome of the story of the Binding of Isaac (The Jewish Press, June 6, 2006).” McBee cites a rabbinic text which, altering the Bible’s account, tells of Abraham actually sacrificing his son, a perfect fit for Ardon’s reference to the Holocaust. “The shock kills Sarah, just as the horrible reality of the millions slain in the Shoah extinguished the faith of untold thousands.”
Ardon (1896-1992) has been called “Israel’s greatest painter,” and whether this is true (Israel has produced many phenomenal artists, including E. M. Lilien and Hermann Struck), he mixed a modern mode of paint application (bold and heavy) with a love of the European Old Masters, such as da Vinci and Rembrandt. This aesthetic marriage of the old and the new resonated in post-Holocaust Palestine.
Racing Against Time
Ardon, born Mordecai Eliezer Bronstein in Tuchow, Poland, was not supposed to be an artist but a watchmaker like his father. His first experience with art came when he observed a Jewish painter named Roth (his last name is lost) painting a lion, tiger, deer, and eagle in his synagogue. (The animals are Jewish symbols for ideal attributes of the diligent worshiper’s efforts to rise in the morning for prayer: for example, the lion’s strength and the deer’s speed.) Seeing the young Ardon copying his forms on a pad of paper, Roth descended his ladder and admired the drawings so much he pressured Ardon’s father to enroll the young boy in an art class.
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