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Art

Ida Dehmel

Ida Dehmel (née Coblenz) was born in Bingen am Rhein, the daughter of a prosperous Jewish family, whose genealogy on her father’s maternal side can be traced back to the year 1735. Her father Simon Zacharias (1836–1910) became a partner in the wine merchant firm of Joseph Philip Meyer, marrying Meyer’s daughter, Emilie (1840–1878). The couple had five children: Elise or “Alice” (1864–1935), Julie Hedwig (1865–1935), Cornelius (1866–1922), who died in Worthing, Sussex, Ida (1870–1942) and Marie Louise, or “Lulu” (1877–1892). Emilie’s early death in 1878, six months after a complicated childbirth, meant that the family was raised in a patriarchal milieu that was dominated by firm rituals, decorum and etiquette. However, their stern upbringing was relieved by the close proximity of their late mother’s parents, the Meyers, who resided nearby in a large family house on the Marktplatz (market square). In the unpublished autobiography of her youth, which she started in 1901 (entitled Urschrift) and which was reworked during the 1920s and in 1940 as a novel (entitled Daja), Ida fondly recalled her grandmother, who was Paris-born and who took a keen interest in her grand-daughter’s well-being (Daja, 7–9, in HH 1970, 3).

Ruth Dar

“A stage set is like a painting that comes to life, becoming three-dimensional. Like a moving sculpture!” (Ruth Dar in Hotem, December 29, 1978). “I call this profession ‘painter’ and not set designer. I paint with space and costumes, and in my eyes there is no real difference between the two because the costumes are part of the concept of the space … Since I’m a minimalist, there is nothing extraneous on stage. Every little object that is there has a reason, and it has to have a place in the whole. I prefer to telegraph a spatial concept. For this reason, I have never done a set of a room with four walls and a few chairs” (Ha-Ir, June 12, 1997).

Lucille Corcos

Lucille Corcos was, for some thirty years, the doyenne of the “modern primitivist” trend on the American art scene. Her paintings, with their composite urban scenes, are often views into various buildings that the observer generally sees only from the outside and in passing; Corcos turns them inside-out before the eye of the viewer. The work is literally “revealing.” As such, it is touching, witty, and thoroughly delightful to contemplate. Though Corcos paid little heed to conventions of scale and perspective, her work is far from abstract, and her renderings are painterly and nuanced.

Jo Copeland

Jo Copeland was an innovative fashion designer who was noted for using unusual fabrics in unusual ways.

Etta Cone

Though her formal education ended when she graduated from Baltimore’s Western Female High School in 1887, Etta Cone, often overshadowed by her more flamboyant sister Claribel Cone, assembled with Claribel one of the major private art collections of the century. For years the sisters squeezed Matisses, Picassos, glorious textiles and period furniture into the apartments they maintained and graciously displayed on Eutaw Place in Baltimore. Outliving Claribel by twenty years, Etta bequeathed their joint collections to the Baltimore Museum of Art.

Claribel Cone

Immortalized in drawings by French modernists Pablo Picasso and Henri Matisse and in Gertrude Stein’s essay “Two Women,” Dr. Claribel Cone was well known in her day as a charming, dignified, well-informed, self-assured, idiosyncratic, and highly independent woman with two passions, medical research and collecting art and artifacts.

Katherine M. Cohen

Although few Jews were sculptors in nineteenth-century America, in part due to the biblical prohibition against creating graven images, Katherine Cohen, a sculptor from Philadelphia with elite academic training, exhibited figurative works, often of Jewish subjects, in an era when women and Jews achieved slight renown in the art world.

Elisheva Cohen

“The last exhibition Elisheva Cohen curated at The Israel Museum, Jerusalem, years after she had retired, and just a little over a year before she died, was Confrontation and Confirmation—Some Aspects of Connoisseurship. The exhibition was a reflection not only of Mrs. Cohen’s work at The Israel Museum but also of her personality: the modesty of a truly knowledgeable person, the thoroughness of a devoted lover, a moderate and cultured didactic tone, directness without pathos and a vast knowledge of artists, periods and styles.” These words, written in January 1990 by Tali Tamir in Jerusalem’s local paper Kol ha-Ir, give some idea of the person Elisheva Cohen was.

Elaine Lustig Cohen

The related fields of typography and graphic design played a vital role in the advent of modernism in early twentieth-century Europe, with many vanguard groups—better known for painting, sculpture, architecture, and manifestos—using design to test the practical application of their new modes of artistic production. The European avant-garde, imported to the United States by a wave of emigrés in the late 1930s, was embraced by a new breed of designers, eager to build upon the principles of an incipient “international style.” Elaine Lustig Cohen, with her husband, Alvin Lustig, were among the most prominent graphic designers to adopt these advanced aesthetic concepts for use in the American market.

Corinne Chochem

Best remembered for her contribution to Jewish cultural life and for her unique ability to inspire those around her, Corinne Chochem had a distinct impact on Hebrew folk dance, both in her teaching and her two books, Palestine Dances (1941) and Jewish Holiday Dances (1948), the latter an original work for which Leonard Bernstein, Darius Milhaud, Ernst Toch, and Tedesco wrote music based on the original folk tunes.

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How to cite this page

Jewish Women's Archive. "Art." (Viewed on December 10, 2018) <https://jwa.org/topics/art>.

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