FULL-TEXT DOCUMENT - HTML Version

Mr. Simeon Solomon is an artist of uncommon promise[.] Mr. Simeon Solomon is an artist of strong Jewish feeling. He is most successful as a delineator of Jewish subjects. The press delights in noticing him, and the Jewish com- munity in hailing him as such. But the greater this well-earned reputation, and the more decided this bent of mind, the more distinct the challenge to severe scrutiny. Whatever its result, this discharge of a public duty can neither shake the former, which is too well established, nor is it likely to divert the latter from its true direction, which is too strongly marked. The less, therefore, any ob- servation of ours can affect the position of the highly gifted artist, the less occasion have we for reserve. We will, therefore, say at once that the productions before us are far from coming up to the standard which Mr. Solomon's antecedents, his truly poetical nature, and his glowing imagination, led us to expect. We cannot approve of them as works of art, since, with some exceptions, among which we reckon the "Feast of Dedication," they lack the idealisation which raises productions of this kind above the ordinary, and since they fail to call forth those holy feelings of awe and veneration from which they derive their chief value. Nor can we conscientiously recommend them as faithful representations in all instances of Jewish religious ceremonies, as the artist has not always seized upon those characteristic moments and objects pecu- liarly marking the performance of the ceremony. Where, for instance, on "The Passover Eve," is the expression of that contentment and happiness in the countenances of the elder, and of that mirth and glee in those of the younger branches of the family, which the faces of all orthodox Jews reflect on the anniversary night of the deliverance of their ancestors from Egyptian thraldom? And why should the little fellow perched on a high stool appear bare-headed, contrary to Jewish usage? There is certainly something devotional, something truly elevating in the face, and something very graceful in the attitude of the female--the mother of the family--lighting the lamp on "The Sabbath Eve." But would not the sanctification of the Sabbath ([Hebrew]), which, after all, is the ceremony of the Sabbath eve, have more appropriately represented what the artist wished to depict than the ceremony actu- ally delineated?     In the "Day of Atonement" the artist has chosen such a position as almost entirely to exclude the grand view of the synagogue, crowded with devout worshippers. This glorious scene has been sacrificed in order to show the one figure of the minister, and unfortunately it represents him doing what he never does;--the Jews never kneel; and on the four occasions on the Day of Atonement they only rest on the knee whilst prostrating themselves. In fact, they are told, and they repeat the words whilst performing the act, that the priests "fell upon their faces." Where is the ark, with its snowy drapery, open during the prostra- tions, and showing the scrolls of the law? Where are the ministers, clad in their white and flowing surplices? Nothing is here to impress us with the grand spectacle of an entire body of fellow-worshippers, standing to ask forgiveness on this day of judgment; and this same sacrificing the mass to the individual is evident on "The Fast for the desolation of Jerusalem," where the only figures are, a rabbi sitting on steps, and another, as it were, calling to pay him a visit; but no portion of the ceremony is shown, nor does this scene occur in any part of it. These are oversights apparently arising from the neglect of those sources of information which historical painters in the execution of their task generally consult.     Whatever the cause of our disappointment, it certainly does not arise from the artist's inability to realise our expec- tations. Mr. Solomon has shown with what truth and depth of feeling he can handle Jewish subjects, and how much soul he can throw into them. The gifted artist will prove this again when he next appears before us either with the same or another Jewish theme.

SCANNED DOCUMENT - PDF Version

Return to Home Page | Secondary Sources: 1860-1905 | All Secondary Sources