{"id":496,"date":"2015-03-04T13:37:00","date_gmt":"2015-03-04T19:37:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=496"},"modified":"2023-04-06T13:55:50","modified_gmt":"2023-04-06T18:55:50","slug":"a-writer-a-painter-and-queen-esther","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/","title":{"rendered":"A Writer, a Painter, and Queen Esther"},"content":{"rendered":"\n

FOR READERS OF this blog, Purim reminds us that modern Yiddish theatre traces its lineage from the traditional folk drama genre known as the Purim-shpil<\/em>. According to the literary historian Jean Baumgarten, the \u201cPurim-shpil<\/em> primarily drew on themes from traditional Jewish texts\u201d \u2013 and not just the dramatic episodes recounted in Megilat Esther. For example, among the most popular plays in the Purim-shpil<\/em> repertory was Mekhires Yoysef<\/em> \u2013 the selling of Joseph \u2013 based on the family saga that rounds out Genesis. Oddly, the Jews\u2019 champion in the Megillah, Queen Esther, appears not to have been a major protagonist in the Purim-shpiln<\/em>.<\/p>\n\n\n

\n
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Woodcuts depicting Mordekhai, Haman, and jesters, from Akta Ester mit Akhashverosh <\/em>(Prague: Sons of Yehudah Bak, 1720).<\/figcaption><\/figure>\n<\/div>\n\n\n

So, let us shift our focus from the Purim-shpil<\/em> to a once-famous painting of Queen Esther and the actress who posed for it, the artist who painted it, and the famous writer who was their patron. The story behind that painting underscores the intersections between the dramatic, visual, and literary arts in Warsaw just before World War I. The actress was Tea Arciszewska<\/a>; the painter was Maurycy Minkowski<\/a>; and the writer was I. L. Peretz<\/a>.<\/p>\n\n\n\n

Arciszewska (n\u00e9e Lipski) sat for Minkowski around 1910. The painter had earned his fame a few years earlier, through his jarring depictions of Jewish victims of Tsarist-era violence. (Many of his paintings bear the identical title: \u201cAfter the Pogrom.\u201d) At the same time, Minkowski pioneered a new subspecialty in Jewish genre painting: the idealization of the Jewish woman.<\/p>\n\n\n

\n
\"Queen
Maurycy Minkowski, \u201cQueen Esther\u201d (or \u201cEsterka\u201d), in Tygodnik ilustrowany (Warsaw), 1911. Jewish Historical Institute, Warsaw<\/figcaption><\/figure>\n<\/div>\n\n\n

Minkowski\u2019s \u201cQueen Esther\u201d was sometimes identified as \u201cEsterka,\u201d after the legendary Jewish consort of the fourteenth-century Polish King Casimir the Great. Either way, it can be viewed as a portrait of a legendary Jewish heroine. When this painting was displayed at an exhibition of Jewish painters in Warsaw in 1913, it made \u201can especially strong impression\u201d upon Syome, the pseudonymous journalist who covered the opening for the newspaper Der moment<\/em>.<\/p>\n\n\n\n

\u201cQueen Esther\u201d is a beautiful young woman clad in a floral gown, with a patterned headdress or shawl covering her hair. She is standing on an elaborately tiled floor, evidently in a palace. Extant reproductions render the background somewhat murky, but a ram\u2019s head is clearly mounted on a pedestal behind her and to the right. The carved wooden frame is a characteristic Minkowski creation as well, with representations of the naked Adam and Eve at the top, a gargoyle on the lower right, and what appears to be a man (perhaps Abraham at the Akedah?) with a knife blade poised to slaughter a lamb<\/p>\n\n\n

\n
\"\"
Ester-Rokhl Kaminska\u2019s tombstone in the Okopowa Street Cemetery, Warsaw; sculpture by Szymon Kratka.<\/figcaption><\/figure>\n<\/div>\n\n\n

Minkowski\u2019s model, Tea (or Tocia) Arciszewska, was elegant, petite, and with finely chiseled features. Her husband at the time was the artist Szymon Kratka, who is remembered for his tombstone sculpture commemorating the famous Yiddish actress Ester-Rokhl Kaminska, which can still be visited in the Okopowa Street cemetery in Warsaw. (Arciszewski was her second husband\u2019s surname; she was married a third time, to the Polish Yiddish writer Efroim Kaganowski.)<\/p>\n\n\n\n

Born circa 1890, Arciszewska made quite an impression on the Yiddish writer I. L. (Yitskhok-Leybush) Peretz, who persuaded her to join an amateur theatre troupe that he was organizing. The stage name that he gave her was Miriam Izraels. (Decades later, she would publish a play bearing the title \u201cMiryeml.\u201d)<\/p>\n\n\n\n

It is quite likely that Arciszewska and Minkowski first met through the good offices of Peretz. The writer\u2019s affection for Minkowski\u2019s work was later recounted by the Yiddish literary critic A. Mukdoni: \u201cFor years a painting by Minkowski hung opposite I. L. Peretz\u2019s desk,\u201d he wrote. The painting depicted a ten-year-old girl, apparently in the marketplace, with a basket of apples at her feet. \u201cPeretz spotted the picture at one of Minkowski\u2019s exhibitions,\u201d Mukdoni wrote. \u201cAs was his wont, he immediately became very excited, ran up to Minkowski and told him that he was going to buy the picture.\u201d The transaction was promptly completed by Peretz\u2019s \u201cfinance minister,\u201d the Yiddish writer Yankev Dinezon.<\/p>\n\n\n

\n
\"\"
I. L. Peretz, in his study, Warsaw, before 1915. Minkowski\u2019s painting of a marketplace scene hangs on the wall behind the writer\u2019s desk. YIVO Encyclopedia.<\/figcaption><\/figure>\n<\/div>\n\n\n

According to the Yiddish editor Melech Grafstein, Miriam Izraels performed in at least two of Peretz\u2019s dramas, the one-act play \u201cS\u2019brent\u201d (It\u2019s Burning) and \u201cIn polish oyf der keyt\u201d (Chained in the Synagogue Vestibule). In the 1920s she became one of the founders and stalwarts of the Azazel revue (kleynkunst<\/em>) ensemble in Warsaw. Interestingly, theatre historian Miroslawa M. Bulat links kleynkunst<\/em> to \u2013 among other things \u2013 \u201colder forms of Yiddish performance, that of purim-shpilers<\/em> and badkhonim<\/em>\u201d (wedding bards).<\/p>\n\n\n\n

Mukdoni described Tea Arciszewska as \u201cdelicately built\u2026 [and] so thin that her posture was slightly stooped.\u201d He did not think much of her acting: \u201cShe lacked the most elementary qualities of a performer.\u201d To which Peretz retorted, \u201cA Litvak will never be able to grasp\u201d Arciszewska\u2019s talents. (Mukdoni was from Lekhevitsh [Lyakhovichi<\/strong>], near Minsk.) As for \u201cQueen Esther,\u201d Mukdoni felt that the painting made the model out to be \u201cconsiderably prettier and more majestic than she actually was.\u201d<\/p>\n\n\n

\n
\"\"
Maurycy Minkowski in his Warsaw studio, flanked by several of his paintings. Teater-velt<\/em>, vol. 2, no. 1 (January 1, 1909).<\/figcaption><\/figure>\n<\/div>\n\n\n

\u201cQueen Esther\u201d accompanied Maurycy Minkowski on his travels and was displayed at his many gallery exhibitions. Sadly, the painting\u2019s fate is unknown. After Tea Arciszewska survived a Nazi concentration camp she settled in Paris, and wrote for the periodical Far undzere kinder<\/em> (For Our Children). Her drama \u201cMiryeml\u201d \u2013 which she had worked on for years \u2013 won a literary award in 1954 and was published in 1958. I. L. Peretz, their artistic patron, had died in Warsaw in 1915.<\/p>\n\n\n\n

The decades preceding the First World War witnessed a flowering of the arts among Jews in Poland and elsewhere. Peretz, one of the three klasiker<\/em> in the Yiddish literary canon (the others being Mendele Moykher-Sforim and Sholem Aleichem) was just a generation older than the painter of \u201cQueen Esther\u201d and his model. For Peretz, Minkowski, and Arciszewska, their art was cut from the same cloth.<\/p>\n\n\n\n

[Portions of this blog post are excerpted from my article, \u201cThe Painter As Ethnographer: Maurycy Minkowski and the European Yiddish Intelligentsia before World War I,\u201d in Czernowitz at 100<\/em>, Kalman Weiser and Joshua A. Fogel, editors (Lanham: Rowman & Littlefield, 2010), pp. 125-135.]<\/p>\n","protected":false},"excerpt":{"rendered":"

Purim reminds us that modern Yiddish theatre traces its lineage from the traditional folk drama genre known as the Purim-shpil.<\/p>\n","protected":false},"author":32,"featured_media":497,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[46,20,37,17],"tags":[],"class_list":["post-496","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-early-20th-century","category-eastern-europe","category-religion","category-writers"],"yoast_head":"\nA Writer, a Painter, and Queen Esther - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Writer, a Painter, and Queen Esther\" \/>\n<meta property=\"og:description\" content=\"Purim reminds us that modern Yiddish theatre traces its lineage from the traditional folk drama genre known as the Purim-shpil.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2015-03-04T19:37:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-06T18:55:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/04\/queen-esther.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"965\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"streich@uwm.edu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"streich@uwm.edu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\"},\"author\":{\"name\":\"streich@uwm.edu\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"A Writer, a Painter, and Queen Esther\",\"datePublished\":\"2015-03-04T19:37:00+00:00\",\"dateModified\":\"2023-04-06T18:55:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\"},\"wordCount\":1107,\"image\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/04\/queen-esther.webp\",\"articleSection\":[\"Early 20th Century\",\"Eastern Europe\",\"Religion\",\"Writers\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/a-writer-a-painter-and-queen-esther\/\",\"name\":\"A Writer, a Painter, and Queen Esther - 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