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Ágnes Heller's article, "Two Chagall Exhihibits in New York Jewish Museum" develops Buber's thoughts in connection with the two largest Jewish art events of the recet past, and places the problem of Jewish art in a historical philosophical context.
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The study by Ziva Amishai-Maisels titled "Faith, Ethics and the Holocaust" analyzes the extent to which Christian symbols were used by Jewish and non-Jewish artists in representing the horrors of the Holocaust.
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Alfréd Schőner analyzes the Hell tract of the Nagykanizsai Hevra Chadisha book from historical, folkloristic, Judaistic, literary, as well as fine art perspectives.
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Martin Buber study on Lesser Ury may be regarded as the laying of the theoretical foundaion and the initial unfurling of the flag of modern Jewish art.
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Part II, presents a heated account of the trade in Jewish artifacts.
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Mirjam Rajner studies this process in development of three generations of Russian Jews, with Chagall at its apogee, in her study titled The Awakening of Jewish National Art.
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Stephen Lubell, through the portrait of Joseph Tcherkassky, orientalist and typographer, provides an insight into the typographical problems of the Hebrews letters.
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János Kőbányai writing on the Imre Kádár exhibit and album by the Mű-Terem Galéria, explores the centrality of history of Hungarian Jews and its special situation in Hungarian society to the understanding of an artist who avoided Jewish themes.
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Rudolf Klein examines the impact of orientalism of the synagogue construction of the Austrian-Hungarian Monarchy, using point of view that stands in contrast with that of most historians of architecture.
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Jáns Kőbányai examines the question to what extent a periodical may be regarded as an object os art in itself
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Mendelsohn analyzes Matesko and Gottlieb's relationship, the relationship of Jews and non-Jows in art and the connection f each to his own history.
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Mária Egri, one of Imre Ámos' first and greatest discover and propagator recalls with biographical authenticity the memories that cnneced her to Imre Ámos and she maps the sources of Imre Ámos documents which will provide an important dimension in the assessment of the artist's ouevre.
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The study by Edit Balas titled "The Holocaust in Valentin Lustig' Painted Works," introduces a Transylvanian artists living in Holland.
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Az Illyés-hagyatékban nemrégiben fellelt Magyar Csillag-levelezésből (1941–44) előkerültek Komor András és felesége, Lengyel Gizella levelei is. A felleléskor ez még csak néhány levelet jelentett, ezért célszerûnek látszott a hagyaték rendszerezett részében előkeresni a Komor házaspár többi levelét is. Az új levelekkel kiegészített és immár teljesnek tekinthető levelezés az 1930 és 1947 közötti időszakot íveli át, mintegy negyven írott oldalnyi terjedelemben.
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