Yitzhak Frenkel

Yitzhak Frenkel was born in Odessa, Russian Empire to a Jewish family. He was a great-grandson of Rabbi Levi Yitzchok of Berditchev. In his youth he studied in a yeshiva where he met Chaim Glicksberg. As a child he lived right next to Bialik's and Rawnitzki's publishing house "Moriah".[6] In 1917, he studied under Aleksandra Ekster, an influential constructivist, cubist and futurist teacher and painter at the Fine Arts Academy in Odessa, one of the leading art schools in the Tsarist Russia.[8] His early years in Odessa were characterized by famine, pogroms, war and factional fighting in the Russian Empire, prompting him to explore Utopian themes, the classics and deepen his studies in the Bible, Talmud and Gemara. These themes were incorporated in his future art.[2]

Frenkel was also influenced by the paintings of the abstract musicalists shown in Odessa in 1917. Their symphonies of blue along with the musical nature of their colourful art were heavily present in Frenkel's later works.[2] They took hold in Frenkel's attempts to express his deep feelings in his encounter with mystical Safed, their influence expresses itself in the painter's wandering blue strokes.[2] The avant-garde art of Odessa and Russian in general would also manifest itself in some of Frenkel's works his thought and his early cubist and abstract art.[2]

Frenkel immigrated to Mandate Palestine in 1919 with the first wave of settlers of the Third Aliyah, on board the SS. Ruslan.[7][8]

Binding of Isaac, 1924

View from his Parisian apartment by Frenkel

In 1920, he established the artists' cooperative in Jaffa and an artists' studio in Gymnasia Herzliya where gave lessons in painting and sculpture. He established the Ha-Tomer artists' cooperative along with the painters Konstantinovsky and Had Gadya and the sculptor Halperin.[8]

Having heard of Safed on the SS Ruslan from refugees from Safed as well as envoys of the Yishuv, Frenkel visited the city for the first time in 1920. Safed would become a major theme in Frenkel's art as well as a source of inspiration and later his home.[9]

The battle of Tel Hai in 1920, prompted the quick gathering of young Jews to assist Joseph Trumpeldor and his company. However, they had arrived to late. Frenkel sketched and later painted the aftermath of the battle.[9]

Later that year, he exhibited in Alexandria.[4]

Frenkel then studied in Paris at the École des Beaux-Arts and at the Académie de la Grande Chaumière[10] at the studios of the sculptor Antoine Bourdelle and painter Henri Matisse. At the time his painting were abstract. Towards the end of 1920, he traveled to Egypt where he showcased his works in an exhibition before returning to Paris.[8][11][12]

Frenkel arrived in Paris just a few months after the death of Modigliani.[13] Frenkel's time in Paris was crucial in the formation of the young artist. Frenkel's expressionistic style developed greatly during this period.[2] His early days in Paris were characterized by poverty and hunger. He was evicted from his room and forced to live in the streets and under the bridges, leading a life seeking only art and basic necessities.[13][14] At last he received a living stipend/scholarship from Wormser, an aid to the Baron de Rothschild[14] lifting him from poverty.

He lived in Montparnasse and exhibited his work with his contemporaries, Chaim Soutine, Michel Kikoine, Jules Pascin along with other Jewish artists of the École de Paris.[8] He would also spend time in La Ruche in Montparnasse where he would meet other painters of the era.[7] Frenkel would participate in long sessions with his fellow Jewish artists; he described thus their art: "members of the minority characterized by restlessness whose expressionism is therefore extreme in its emotionalism".[13] In this period he also created abstract modernist works that were characteristic of the avant-garde trends in the French capital.[15]

He exhibited at the Salon des Indépendants alongside other artists of the time such as Soutine. They were both noticed by art critic Waldermar George. Waldermar George told Frenkel during the time "Do not return to Palestine, they will eat you there" (Frenkel would return in 1925).[6] In 1924, the Dutch painter Piet Mondrian acquired two of his abstract paintings for an English collector.[6][7] He also exhibited at the Salon d'Automne, and the Salon des Arts Sacrés.[8]

Frenkel returned to Palestine in 1925, where he revolutionized the visual arts.[16][2] He opened the Histadrut Art School in Tel Aviv, the first studio of modern art in mandatory Palestine. He was considered extreme in his artistic orientations by his contemporaries. At the time Palestine, isolated from new developments in European art and seeking to adhere to religious-nationalistic work in the Art-Nouveau Style; saw art that was not at pace with art of European Capitals and deeply influenced by Orientalism.[2] Frenkel's style was closer to the abstract and cubist painting of Paris than the orientalism popular in Palestine at that time. He was one of the country's first abstract painters.[5][17]

His students included Shimshon Holzman, Mordechai Levanon, David Hendler, Joseph Kossonogi, and Siona Tagger. He was a mentor to Bezalel students Avigdor Stematsky, Yehezkel Streichman, Moshe Castel, and Arie Aroch. Several of his students (Such as Moshe Castel and others) included Bezalel art students who would visit Tel Aviv in order to absorb the "maestero's" teachings.[2]

Frenkel's Parisian expressionism and modern French influence also influenced him as a teacher.[2] Those who studied under him absorbed French influence and went to study in Paris in the 1920s and 1930s. Frenkel taught his students about Cézanne and Van Gogh and techniques he had learned in France. He exposed his students to Jewish Expressionism as well as the intellectual basis and techniques of French art.[2][18] On the Jewish School of Paris, he said "Like Jewish baroque, penetrating French romanticism, like Delacroix's"[13]

In response to Jerusalem's conservative Bezalel's exhibitions, Frenkel's Tel-Aviv art studio in 1926, exhibited at the "Ohel" theater in the "Modern Artists" exhibition. Frenkel too exhibited, showing geometric compositions alongside landscape paintings. These were the first abstract paintings shown in the country.[13] Frenkel and his students were described as "Modern Artists".[6]

Upon his return home, Frenkel was struck by the gap between Paris and the art of the Jewish Yishuv.[13] He felt that he could not express the pioneers' struggle for survival in abstract art. Frenkel said "The intellectuals here turned to agriculture and road building. I wanted to plant a seed in this unsown land. It is impossible to imitate Israeli art; it must grow organically from the land".[13][19]

Following the great depression, the economic situation brought about the closure of the Histadrut art studio, following which Frenkel had to leave the Yishuv in search of better economic prospects.[9] Between 1929 and 1934 Frenkel returned to Paris. During Frenkel created several frescos, an art he would continue endeavoring most of his life.[14] In order to complement his dull income, Frenkel worked in French movie sets, creating decorative pieces and designing sets for Pathé as well as theatres.[9]

In reaction to European events, the Ecole de Paris artists including Frenkel returned to paint in a more humanist style, in light of this Frenkel began to paint in a more realistic style. Furthermore, the subjects of his painting turned more frequently to human centered themes and less of the abstract exploration of the previous decade.[14] Sensing the growing anti-Semitism, Frenkel left Europe in 1934, returning to Erez Israel.[9]

Reminiscent of his early encounter of Safed in 1920. In 1934, he made Safed his home, becoming the first artist to settle in the ancient holy city, 14 years before the "Artists' Colony" was formally established. There he painted the ancient synagogues, narrow lanes, local inhabitants and surrounding countryside.[20][21]

He first encountered Safed after his Aliya to Israel in 1919, the ancienty city left a deep impression on the young artist. Frenkel was entranced and mystified by the city's colours, its shades of blue, the chants of prayer and the alleyways. Frenkel romanticized the city and its landscapes. This is evident in his portrayal of Safed, mystic and spiritual, things unseen and hidden from the naked eye which the artist attempts to reveal.[20][21] Frenkel, found in Safed a spirituality and inspiration that was harder to find elsewhere.[20] Frenkel painted the ancient synagogues, narrow lanes, rabbis and their students, scenes of Jewish life, local residents and the landscape of Mount Meron.[20]

During that period he mostly abandoned the abstract style. He designed floats for the "Adloyada" carnival in Tel Aviv. In 1936 he began designing sets and costumes for the "HaOhel" theater and "HaBima" theater, and painted portraits of famous actors such as Hanna Rovina who worked there.[6][14]

• 
  Hanna Rovina, costume design for her role as Dona Isabela
• 
  1930s costume design for the theatre

In 1937, he embarked on a journey, painting Israel from point to point, North to South. He painted Safed, Jerusalem, Tel Aviv, the Negev desert as well as the Galilee. He made 13 exhibitions on the motif of Safed up-to 1950. Several of his landscapes showed the influence of Corot.[19] In 1937, in his eyes, Jerusalem and its soil was brown and hot... Prompting the artist to paint Jerusalem and its hills (as well as Rosh Pina in which he saw a familiar brown) in a Rembrandtesque light.[19]

In 1948, Frenkel painted the first meeting of the Knesset as well as the first meeting of the military committee of the IDF. He also made portraits of the first 120 MKs (Members of the Knesset).[22][23]

Isaac Frenkel Frenel, Safed

Safed, Frenkel Frenel 1950s

In 1949, he would become one of the founders of the "Artists Colony of Safed". He distanced himself from most of the artists of the colony, leading to the colony's resentment of him.[6]

First IDF Committee Meeting, Yaacov Dori and David Ben Gurion

He was the first painter chosen by the State of Israel to represent the Jewish State at the Venice Bienniale.[7] In 1950 he exhibited his work in the 25th and 26th Bienniale of Venice, representing Israel. In 1952 he exhibited again in Paris.

He opened a short lived Academy for Art in his Safed home in 1950. However due to financial difficulties, he was soon forced to leave and seek his fortune elsewhere (in South Africa, Portugal and France).[24]

Frenkel Frenel, Safed

In 1954 he returned to France. There he studied glasswork and he created stained glass windows for the Baroness Alix de Rothshild for a chapel in Normandy in the north of France.[12] During the six-year period between 1954 and 1960 he started to sign his works as "Frenel"...[25][26] This along with his windows for a Christian chapel led to rumors that he had abandoned Judaism, which were untrue.[26]

He showed his work in one-man shows in museums and galleries in Europe, the Americas, South Africa and Asia, returning periodically to Israel. However, being outcast due to false rumours and the antagonism the traditional artistic establishment held toward him, he would be almost unable to exhibit his works in Israel. He returned to Paris for most of the year using Tzfat/Safed as his summer home.[27][26][28]Rolly Schaffer was one of his students in Safed.[29] In 1973, his house reopened as a museum, the Frenkel Frenel Museum, showcasing his work. In July 1979, Frenkel had a one-man show at the Orangerie in Paris.[10]

Ilana, fourth wife of Frenkel Frenel

His Expressionist works pinpoint the expression of inner experience rather than solely realistic portrayal, seeking to depict not objective reality but the subjective emotions and responses that objects and events arouse in them. His colours reveal his hidden emotions and express passion and drama. When he paints his wife Ilana, the colours express an erotic explosion.[30]

The Artist with the President of the Senate, Alain Poher, in the Orangerie Exhibition, 1979, Paris

In 1979 he had a solo show at the famous "Orangerie" of Paris, in celebration of his 80th birthday; inaugurated by the President of the French Senate, Alain Poher.[8][7]

He died in 1981 in Tel Aviv and was buried in Safed.

Frenkel won the Dizengoff Prize for painting four times, in 1938, 1939, 1940 and again in 1948.[31] He took part in the 24th and 25th Venice Biennales, firstly a pre-independence exhibit and then represented the first time Israel participated.

• Dizengoff Prize (Tel Aviv) 1935;1938;1939;1940;1948
• Beaux-Arts Commission prize (Paris)
• Honour Certificate for nude-painting (Venice Biennale) 1948
• 1st Prize for Litography-French pavilion-in the International Lithography Exhibition (Bruxelles Belgium)  1958
• Grand prix de Paques(nude) 1972
• Grand prix de Noel (expressionism) 1972
• Grand prix International de Peinture de la Côte d’Azur en Frande Finale 1973
• Grand prix International de Deauville 1973[32]

• 1950: Venice Biennale
• 1924: Salon des Indépendants, Paris
• 1924: Salon d'Automne
• 1924: Salon de Société des Artistes Indépendants
• 1950-1964 Romanet Gallery, Paris
• 1954 Johannesburg - Durban - Cape Town
• 1957: O'Hana Gallery, London
• 1959 Max Bollag Gallery, Zürich
• 1962: Gallery of Drap d'Or, Cannes
• 1965 - Continental Gallery, New York City
• 1967 - LIM Gallery, Tel Aviv
• 1969: Stenziel Gallery, Munich
• 1970: WESTART Gallery, New York City
• 1972: Artistique International Gallery, Nice
• 1973: Aqua Vella Gallery, Caracas
• 1973: IBAM gallery, Rio de Janeiro
• 1974: Galerie de Seine 38, Paris
• 1974: Galerie Karsenty, Monaco
• 1974: GAllery ALTULIDADES, São Paulo
• 1975: Galerie Vendome, Paris "Hommage to Chagall"
• 1975: Jean Apesteguy Gallery, Deauville
• 1975: Museum of Art, Lima
• 1976: Artistes Français
• 1977: Israel Linke gallery, Amsterdam
• 1977: Gallery Galjoen, Hertogenbosch
• 1979: One man Show, Orangerie, Paris, inaugurated by President of French Senate

• Visual arts in Israel
• Beit Castel
• Safed
• Shimshon Holzman
• Frenkel Frenel Museum

• Barzel, Amnon. Isaac Alexander Frenel. Jerusalem: Massada Press, 1974.
• Gumprecht-Linke, S. Frenel: École de Paris. Amsterdam: Israel Galerie Linka, 1977.

• Official website
• https://www.frenkelfrenelmuseum.com/
• 3 artworks by Yitzhak Frenkel at the Ben Uri site