Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

SAMEK & SAMEK

SAMEK & SAMEK S AM EK & S AM E K S AM U EL B AK Weston MA D ay in and day out, and for many uninterrupted hours, I spend my time amid dozens of canvases. All of them are in a slow process of evolu- tion and need continuous re-working. . . . Sometimes I lose the thread of thoughts that ties me to the one that is in front of my eyes, the hand slack- ens its grip on the brush, and the mind starts aimlessly to wander in distant landscapes of memory. It happens that I surprisingly end up in the most improbable of places and often in some unexpected moment in time. . . . The other day I was working on the image of the most famous of all Holocaust photographs, the “Warsaw Ghetto Boy.” It is to me “The Jewish Crucifixion.” With his arms lifted in an attitude of resigned and bewildered surrender, and his spent gaze focused on the viewer, he has never stopped questioning me. So I paint him again and again as if the process of letting him materialize on my canvases were going to supply the two of us http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Religion and the Arts Brill

SAMEK & SAMEK

Religion and the Arts , Volume 4 (1): 76 – Jan 1, 2000

Loading next page...
 
/lp/brill/samek-samek-65RIql0RQd

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Brill
Copyright
© 2001 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1079-9265
eISSN
1568-5292
DOI
10.1163/15685290152126421
Publisher site
See Article on Publisher Site

Abstract

S AM EK & S AM E K S AM U EL B AK Weston MA D ay in and day out, and for many uninterrupted hours, I spend my time amid dozens of canvases. All of them are in a slow process of evolu- tion and need continuous re-working. . . . Sometimes I lose the thread of thoughts that ties me to the one that is in front of my eyes, the hand slack- ens its grip on the brush, and the mind starts aimlessly to wander in distant landscapes of memory. It happens that I surprisingly end up in the most improbable of places and often in some unexpected moment in time. . . . The other day I was working on the image of the most famous of all Holocaust photographs, the “Warsaw Ghetto Boy.” It is to me “The Jewish Crucifixion.” With his arms lifted in an attitude of resigned and bewildered surrender, and his spent gaze focused on the viewer, he has never stopped questioning me. So I paint him again and again as if the process of letting him materialize on my canvases were going to supply the two of us

Journal

Religion and the ArtsBrill

Published: Jan 1, 2000

There are no references for this article.