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28
AvivLivnat
ill.3.MaurycyMinkowski,QueenEsther,1911
groupofartistsfromdifferentartisticdomains
toconnectandreacttohisworkl
MaurycyMinkowski,whowasfondofdepicting
portraitsofyoungandbeautifulgirls,createdafew
portraitsofTea,whichaddedtothestardomthat
sheacquiredinthecityofWarsawlTurkovmen
-
tionedthathersalonwasfullofportraitsthatart-
istsmadeofherl
11
Mukdonirememberedvisiting
Minkowski’sstudiowheretheartistshowedhim
apaintingentitled
Esther
andthemodelwasAr-
ciszewskadressedinoldJewishclothesservingasan
exoticreferenceforEsterke,theJewishloverofKing
Kazimierz(illl3)l12
ShepossessedaPolish-Jewishnaturebothinher
appearanceandherexpressionlPeretzrecognised
thesequalities,whichwouldsuittheJewish-Polish
femalecharacterinhistheatreplaysl
AsTeawasfindingherownnewvoiceinWarsaw’s
culturalmilieu,Kratkasucceededinimprintinghis
11Turkov(1956:241)l
12Mukdoni(1949:32)l
influenceontheartisticarenainWarsawbydevel-
opingauniquemodernvisuallanguage,whichused
Jewishsymbolsinafreestylewithorientalnuancesl
HebroughtthisinfluencefromhisstayinJerusa-
lemandtheBezalelstylehehadbeenexposedto,
inadditiontothelatestdevelopmentinJewishor-
namentsthatwasgainingattentionafterthepubli-
cationofStasovandGinzburg’s
Jewishornaments
and
thevariousnewdiscoveriesinJewishfolkloreand
ethnographyofthattimelThesewerereinforcedby
someimportantartistsandresearchers:perhapsthe
mostwell-knowninitiativestookplaceafter1910
byAn-skiandhiscolleagueslKratkabroughthis
versionoftheimpactofthisJewishvisualartistic
revivalintothePolishspherel
ThepaintingshepreparedforPeretz’sliterary
workshadahugeinfluenceonawholegeneration
ofJewishartistswhowereadoptingtheirpictorial
modelsalongdifferentpaths,seekinganewJewish
fusionlInhisinterpretationofPeretz’s“inpolish
oyfderkeyt”(illl4)withArciszewskaintheleading
role,onecannoticehisfreshapproachtowardJew-
ishsymbolsandhispioneeringcontributiontoJew-
ishmodernpaintingl
In1925,tenyearsafterPeretz’sdeath,Kratka
hadalreadyleftWarsawandhiswifeforthesake
oftheRussianrevolutionlLater,hewenttoKiev
wherehedirectedtheartacademyandwasactive
asanarchitect;hemarriedaChristianwomanand
movedawayfromJewishlifelArciszewskamarried
forasecondtimetoaPolishengineer;shecontin-
uedtokeepthenameArciszewskal
Duringthemid1920s,Arciszewskaestab-
lishedtheAzazelKleynkunst
13
Teatertogether
withDovidHermanasadirector,HenrykBerlewi
asadesignerandWladyslawGodikastheMaster
ofCeremoniesl
Thistheatrebroughtanewartisticquality
totheJewishstageandisinfactasignificantchap-
terinthenewJewishstageofthe1920sl14
Inadeepsense,itsprangfromtheinternalcom-
mitmentTeacontinuedtocarryafterPeretzCsdeath
assheherselfexpressed:
13
Kleynkunst(Clittleart’)isamodernearlytwentieth
centurygenreofYiddishperformanceinfluencedbyRussian
andPolishliterarycabaretlItwasindebtedtoolderforms
ofYiddishperformance,suchaspurim-shpilersandthe
JewishtraditionofbadkhonimlSeeCKleynkunst-un
marionetn-teaterstsvishnbeydevelt-milkhomes,’in:Yidisher
teaterinEyropetsvishnbeydevelt-milkhomes(1968:148-168)l
14
KipnisMenachem,„Azazel“dipremyerefunershtn
YidishnKleinKunstTeater,Haynt32,Feb7(1926):7l
