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拍品专文
Rubin was a native of Romania. He first arrived in Jerusalem in 1912, as a student in the Bezalel Art Academy. Quickly disillusioned with the school, in 1913 he returned to Europe. He continued his studies at the Ecole des beaux Art and the Académie Colarossi in Paris, but he was forced to return to Romania with the outbreak of WWI.
He later traveled to the United States where he met and befriended the photographer, Alfred Stieglitz. The latter helped Rubin get his first American exhibition at the Anderson Gallery in 1921. Through Stieglitz’ artistic circles Rubin learned to admire the achievements of European and American modernism; these lessons were expressed in his 1920s pioneering work.
In 1923, Rubin returned to a new reality of British mandated Palestine. During this period, waves of immigrations swept the country, bringing people mainly from Eastern Europe. The newcomers settled in rural areas in the ancient cities and in new cities such as Tel Aviv, which rapidly became a cultural center. Rubin was fascinated by the changing country, touring it extensively, in a modernist, naive, flat manner using a bright palette he depicted the landscapes and figures he encountered in his new homeland.
Painting the landscapes was at heart a visual expression of a desire to belong. Rubin lovingly painted local sights, intellectual friends from Tel Aviv, farmers, newcomers from Yemen and the Mediterranean landscape.
Olive Trees in the Galilee painted in 1924, is an example of Rubin's early romantic, naive work. As many artists of this generation arriving from eastern Europe, Rubin was mesmerized by the Mediterranean light. He said in Israel “even the shade is luminous” (quoted in C. Rubin, Dreamland, Tel Aviv, 2006, p. 229). The artist was the first to hold a one-man exhibition at the Tower of David, Jerusalem.
Rubin shared an attraction with twentieth century artists to exotic places, which were perceived as an antithesis to the decadent western culture. Life in the countryside seemed an idealized and harmonious exitance, where the landscape, architecture, animals and vegetation lived in harmony. In Olive Trees in the Galilee, the rounded shapes of the undulating hills echo the movement of the paths, the rounded roofs tops and the olive trees.
He later traveled to the United States where he met and befriended the photographer, Alfred Stieglitz. The latter helped Rubin get his first American exhibition at the Anderson Gallery in 1921. Through Stieglitz’ artistic circles Rubin learned to admire the achievements of European and American modernism; these lessons were expressed in his 1920s pioneering work.
In 1923, Rubin returned to a new reality of British mandated Palestine. During this period, waves of immigrations swept the country, bringing people mainly from Eastern Europe. The newcomers settled in rural areas in the ancient cities and in new cities such as Tel Aviv, which rapidly became a cultural center. Rubin was fascinated by the changing country, touring it extensively, in a modernist, naive, flat manner using a bright palette he depicted the landscapes and figures he encountered in his new homeland.
Painting the landscapes was at heart a visual expression of a desire to belong. Rubin lovingly painted local sights, intellectual friends from Tel Aviv, farmers, newcomers from Yemen and the Mediterranean landscape.
Olive Trees in the Galilee painted in 1924, is an example of Rubin's early romantic, naive work. As many artists of this generation arriving from eastern Europe, Rubin was mesmerized by the Mediterranean light. He said in Israel “even the shade is luminous” (quoted in C. Rubin, Dreamland, Tel Aviv, 2006, p. 229). The artist was the first to hold a one-man exhibition at the Tower of David, Jerusalem.
Rubin shared an attraction with twentieth century artists to exotic places, which were perceived as an antithesis to the decadent western culture. Life in the countryside seemed an idealized and harmonious exitance, where the landscape, architecture, animals and vegetation lived in harmony. In Olive Trees in the Galilee, the rounded shapes of the undulating hills echo the movement of the paths, the rounded roofs tops and the olive trees.