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Rembrandt has been hailed for his love of the Jewish people — was it all a myth?
In a preface to the 1932 Hebrew edition of the painter Leonid Pasternak’s study of Rembrandt, Russian-Jewish poet Hayim Nahman Bialik observed that although the Dutch artist was not Jewish, we “must consider him as ‘a Jew of honor,’ for his love and empathy towards the Jews.”
Bialik was not alone in his admiration. Rembrandt’s close ties to his Jewish neighbors in mid-17th century Amsterdam — to say nothing of his sensitive portraits of them — were held up for generations as a model of philosemitism.
Recent scholarship, however, has shown that Rembrandt’s affection for Jews has been generally overstated. He had, for example, perhaps a couple of Jewish sitters, but nothing like the dozens once ascribed to him.
Yet a new Rembrandt exhibit at Boston’s Museum of Fine Arts, entitled “Reality and Imagination: Rembrandt and the Jews in the Dutch Republic,” embraces not only the hard facts of the Rembrandt-Jewish relationship, but the myths, too.
Co-curators Michael Zell and Simona Di Nepi have juxtaposed the real with the imagined, introducing visitors to the artist’s known Jewish interactions — the “reality” — as well as his so-called imagined encounters: that is, the biblical Jews he often painted. The result is a fine overview of the Dutch maestro’s associations with Amsterdam’s Jews, as well as a fascinating window onto the relative freedoms enjoyed by Dutch Jews at large in the 17th century Dutch Republic.
Importantly, neither Zell nor Di Nepi was all that interested in addressing, at least explicitly, Rembrandt’s alleged philosemitism. “We just concentrated on the evidence that we have for relationships, commissions, interactions,” said Zell, professor of Baroque and 18th Century Art at Boston University. “We set aside any question of whether or not there was something unique about Rembrandt’s interest in the Jews.”
The exhibit, which runs until December of this year, is a collaboration between the MFA’s Center for Netherlandish Art (CNA), and art history undergraduate and graduate students at Boston University; the students were involved in every curatorial decision. “It’s a really unprecedented experiential learning and professional development opportunity,” said Zell. (This is the fifth such partnership between the CNA and an academic institution. Previous partners include Yale and Brown).
Perhaps the most striking piece in the gallery’s “reality” section is a 1647 portrait of the artist’s neighbor Ephraim Bonus, a Sephardi physician and, in all likelihood, the only living Jew Rembrandt ever painted. The portrait is the gallery’s “linchpin,” Zell said: a drawing of a Jewish subject for which Rembrandt had only to depict what was in front of him, instead of conjuring up a mix of caricature and theology (more on that later).
Next to the Bonus portrait are four images Rembrandt drew for Menasseh Ben Israel, a hugely influential Dutch Rabbi and scholar. Ben Israel would go on to use the sketches as visual representations of key biblical stories in his treatise Piedra Gloriosa (The Glorious Stone).
Rembrandt, often very precious about his work, agreed to alter two of the prints after the Rabbi insisted they did not align sufficiently with the biblical text. And though scholars have puzzled over the nature and extent of Rembrandt’s relationship with Ben Israel, it’s the images’ very existence that Zell wants to highlight. “This moment of interfaith collaboration is just remarkable,” he said.
The Ben Israel prints, however, are not only evidence of Rembrandt’s dealings with Amsterdam’s Jews. By calling attention to such a towering figure as the Rabbi, they underscore the exhibit’s other defining motif: the Jewish community’s considerable — relative to their European counterparts, at least — freedom and influence in the mid-17th century Dutch Republic. (Established in 1581, the Republic was a confederation of seven Dutch provinces that had broken away from Catholic Habsburg rule. Notionally Calvinist, it was renowned for its enlightened attitude towards religious and ethnic minorities and its patronage of the arts and sciences.)
And so also on display are several pieces of Judaica that testify to the Dutch Jewish community’s vibrancy in Amsterdam — a city so full of Jewish life that author Israel Zangwill later called it the “Jerusalem of the West” — and further afield, too. There’s a brilliantly detailed map of the so-called Holy Land, with the names and places written in Hebrew; a brass Hanukkah lamp in the Dutch-Jewish style; a Sephardi Ketubah, with engraved still-lifes that climb up the side of the document like ivy; and an 18th century copy of a portrait depicting the 1675 opening of Amsterdam’s Grand Sephardi synagogue, the world’s biggest at the time.
What caught my attention most of all was a pair of silver Torah finials, whose conical shape, intricate flower engravings and tinkling bells were inspired by Dutch architecture and Christian reliquaries, said Di Nepi, who’s the MFA’s Charles and Lynn Schusterman Curator of Judaica. Made in 1649 in Rotterdam, a port town whose trade activity attracted scores of Jews, the finials are the oldest surviving in the United States. And given that they were crafted by a Christian silversmith — the Dutch Republic may have been atypically tolerant, but Jews still were not allowed into its guilds — they are an excellent shorthand for both the achievements and difficulties of 17th-century Dutch Jewry.
The power of imagination
Though the physician Bonus is today accepted as Rembrandt’s only undisputed Jewish sitter, the artist, like many of his contemporaries, was fond of depicting biblical stories — and not just from the New Testament. According to the museum, scenes from the Hebrew Bible were painted more often in the Protestant Dutch Republic than anywhere else in Europe, and inventories of Jewish households at the time revealed that these depictions often were collected by Dutch Sephardim.
The “imagination” section of the exhibit, then, features Rembrandt’s take on biblical episodes like Abraham’s sacrifice and David and Goliath, as well as two iconic pieces that scholars once held up as proof of Rembrandt’s philosemitism (‘The Jewish Bride,’ notably) but which have since been re-assessed.
Taken together, a portrait emerges of how Rembrandt understood Jews; of the influence of 17th-century Amsterdam and the importance of the artist’s solidly, immovably Christian worldview.
The paintings, generally speaking, are heavy on caricature. “This is an imagined version of the biblical characters of the ancient Jews,” Di Nepi told me. “There is this mixture of a look that evokes the Middle East, which was at the time run by the Ottoman empire. A lot of turbans, very lavish silk with gold and silver embroidery, and sashes that probably came from Persia.”
The 1648 sketch “Jews in the Synagogue,” for instance, depicts a huddle of Jews in floppy hats, long robes and turbans. To portray what he understood to be a representative Jewish figure, Rembrandt produced a blend of ancient Israelite and 17th century Dutch Jew, a formulation he repeated across his other so-called Jewish portraits. This, Zell said, “is Rembrandt’s Christian perspective shaping the way that the Old Testament scenes are portrayed.”
Far from indicating a special affinity for Jews, these paintings suggest Rembrandt didn’t really distinguish between the minority groups he mingled with in diverse 17th-century Amsterdam. Jews, Zell said, were simply part of a “vast, undifferentiated realm,” separate from Christianity.
Still, even if his outlook was traditionally Calvinist — which, at its heart, aimed to convert Jews and all other non-Christians — this need not overshadow the fact that Rembrandt, to paraphrase one reviewer, could paint in three dimensions. “He possessed a gripping naturalism,” Zell said. “And so he created these unprecedentedly lifelike figures.”
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Jewish Democrats back Michigan AG Dana Nessel’s decision to skip state party convention
(JTA) — Local and national Jewish Democrats say they are sympathetic after Michigan’s Jewish attorney general, Dana Nessel, said she would skip the state Democratic Party’s nominating convention over concerns about antisemitism and harassment.
“I don’t blame AG Nessel for not wanting to go and basically put herself in situations that feel untenable in this moment of time and don’t add any value politically, personally,” Jessica “Decky” Alexander, the Michigan Jewish Democratic caucus chair, told the Jewish Telegraphic Agency on Friday.
Alexander’s comment came a day after Nessel announced during a televised antisemitism roundtable that she would be skipping the convention next month, where party leaders will finalize the state’s Democratic candidate for Senate following a divisive primary that has focused in part on Israel and antisemitism.
“I don’t feel safe going. I feel like my presence isn’t going to be welcome. I don’t want to get chased around. I don’t want to get harassed. I don’t want to get yelled and screamed at. I don’t want to get booed off the stage, irrespective of what I’m saying,” Nessel said during the roundtable. “And I believe that if I go, that is what will happen because it’s been happening to me.”
She said she had filed a formal complaint within the party about a party official who had called her a neo-Nazi because of her beliefs. “Why is this person more accepted in our party than me?” she asked without naming the official. Her office responded to a request for comment by referring to the recorded livestream of the antisemitism roundtable.
Nessel’s declaration comes in the final days of the primary between Rep. Haley Stevens, a pro-Israel stalwart, and Abdul El-Sayed, a democratic socialist who is deeply critical of Israel. El-Sayed is surging in polls despite a reported $30 million spent against him by AIPAC, the pro-Israel lobby, and its supporters, whom he has made a target of criticism from the campaign trail.
Nessel’s comments also follow turmoil at the Michigan Democratic Party’s endorsement convention in April, where Stevens was booed by attendees. A third primary candidate who later dropped out of the race, state Sen. Mallory McMorrow, said a convention attendee had targeted her Jewish husband with an antisemitic slur.
The incident has fueled alarm among Jewish Democrats, according to Halie Soifer, CEO of the Jewish Democratic Council of America.
“She’s not alone,” Soifer told JTA about Nessel on Friday. “We’ve heard from other Jewish Democrats who attended the Democratic Party convention earlier this year in Michigan, and there was a sense of discomfort amid what felt like a pro-Palestinian protest [that] may have even blurred the line for some into antisemitic sentiment — and it’s really concerning.”
Nessel has raised the alarm about antisemitism within the party for years, alleging in 2024 that Michigan Rep. Rashida Tlaib, a prominent pro-Palestinian voice, had been antisemitic when criticizing charges Nessel filed against pro-Palestinian protesters at the University of Michigan.
For her part, Alexander said she would be participating in the nominating convention and said she believed the chair of the state Democratic Party, Curtis Hertel, had been “very accessible and very open to making sure that we, including our Jewish elected officials, feel safe in that space.” But she said she understood why Nessel was staying away.
“It would never even occur to me, but I’m not an elected official,” Alexander said. “It’s a different stake for me than it is for Dana. I understand her completely.”
This article originally appeared on JTA.org.
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Maine rabbis call for peace, urge politicians to stop calling Gaza war a ‘genocide’
(JTA) — Every congregational rabbi in Maine has signed onto a statement calling for peace and urging the state’s political leaders to stop using the term “genocide” to describe Israel’s war in Gaza, following a Democratic primary in which several candidates used the label for the first time.
But the rabbis also indicated that they, too, were unsatisfied with conditions in the Middle East and called on Israeli and Palestinian leaders to work toward a peaceful future.
“We call upon Maine’s leaders, and particularly its political leaders, to reject the irresponsible usage of the term in describing the Israel-Hamas War,” said the statement released on Friday. “We also call upon Israeli and Palestinian leaders to end the cycle of violence and to create a better world for both Palestinian and Israeli children.”
The statement, titled “A Call for Peace and Responsible Rhetoric,” argues that using the term as a “political slogan does not advance peace in the Middle East.” The term “erases essential moral and legal distinctions, diminishes the meaning of genocide, and inflames hatred for the local Jewish community,” the rabbis say.
“Compassion for Palestinians does not require the adoption of hateful and misleading language,” they continue. “Advocating for peace does not require participation in a ‘Holocaust inversion’ against the Jewish community. And political leadership does not require demonizing one community in the service of another.”
The statement comes days after Troy Jackson, a former logger and state Senate president, secured the Maine Democratic U.S. Senate nomination Saturday at the party’s nominating convention to replace Graham Platner, a staunch Israel critic who dropped out of the race earlier this month. Platner faced a sexual assault allegation, which he denies. Jackson now faces Republican incumbent Sen. Susan Collins in November’s general election.
Platner’s romp to the primary victory featured routine use of “genocide” to describe Israel’s actions. And ahead of the convention to replace him, Jackson and several other Democratic hopefuls who later exited the race began using the term “genocide” to describe Israel’s war in Gaza for the first time, a shift that drew scrutiny from some Jewish leaders and voters in the state.
The use of the term has become a “currency for acquiring power and position in Maine’s Democratic party,” Rabbi Rachel Isaacs, the leader of Beth Israel Congregation in Waterville, who also signed the statement, told the Jewish Telegraphic Agency.
“Too many Maine Democrats are cynically willing to trade in that currency at the expense of our safety and dignity,” she said in an emailed statement. “We decided we needed to say something collectively, both about the specious and dangerous nature of the claim, and about how much damage has been done to our families and congregants.”
The statement Friday was spearheaded by the Jewish Community Alliance of Southern Maine and signed by every congregational rabbi in the state, including Rabbi Bill Siemers of the Conservative Congregation Beth Israel in Bangor and Rabbi Erica Asch of the Reform Temple Beth El in Augusta. (Rabbis affiliated with the Chabad movement in Maine did not appear on the signatory list.)
Zach Schwartz, the director of the Jewish Community Relations Council at the Jewish Community Alliance of Southern Maine, said the federation hoped the “unity displayed here in Maine can inspire Jewish communities across the US to also unite against the extremist rhetoric harming our community and our children.”
Rabbi Josh Stanton, the associate vice president of interfaith and intergroup initiatives for Jewish Federations of North America, also hailed the joint statement.
“Maine’s Jewish clergy are setting an important example with their call to put aside inflammatory rhetoric and look to the common good,” Stanton said in an emailed statement. “At a time of rising polarization and declining civil discourse, the Jewish Community Alliance of Southern Maine’s efforts to unify the community around this important message are a mark of true leadership.”
Isaacs told JTA that she hoped Jackson would “support, understand, and advocate for all of Maine’s citizens, including the totality of Maine’s diverse Jewish community.”
“Work with us to figure out how to express outrage and legitimate critique of Israel’s government without succumbing to language that you might not know is an ancient antisemitic trope, or dismissing the security needs of Israel’s citizens,” Isaacs said of her message to Jackson. “Please have the courage to forge your own path, and not follow in the footsteps of Graham Platner, a man who should have never been normalized, endorsed, or empowered.”
This article originally appeared on JTA.org.
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Boy George cedes role of King Herod in ‘Jesus Christ Superstar’ production after releasing pro-Israel song
(JTA) — Boy George has withdrawn from his run as King Herod in London’s West End revival of “Jesus Christ Superstar,” days before he was due to take the stage and 24 hours after releasing “We Will Dance Again,” dedicated to the victims of Hamas’ Oct. 7, 2023, attack on the Nova music festival in Israel.
The 80’s pop star was scheduled to appear at London’s Palladium starting Monday as part of the production’s rotating cast playing King Herod, the Judean king who is best known by Jews for his expansion of the Second Temple and to Christians for his efforts to stave off the arrival of a challenger — the story of which is reflected in the rock opera by Andrew Lloyd Webber and Tim Rice.
Boy George will be replaced by actor Richard Armitage in the London production.
In announcing the cast change, Paul Kelmsley, the singer’s manager, did not directly mention the blowback the former Culture Club frontman was receiving for releasing a pro-Israel song but alluded to it.
“George has never been afraid to stand by his personal convictions, and I have always respected him for that,” he said. ”In this instance, I felt it was right to step aside, allowing the production to remain the focus, while ensuring everyone involved can move forward with mutual respect and goodwill.”
Boy George is defending his decision to release the song, saying he believes artists should be free to express their views even when they are unpopular. In “We Will Dance Again,” the singer rejects claims of genocide against Israel and proclaims, “If you’re ever confused, I stand with the Jews.”
Earlier Friday, Boy George lashed back at the vitriol he was getting online. “What is most shocking is the amount of gay folk attacking me, ” he posted on X. “If you support terrorism you can in the words of Divine ‘Take your toolkit and go f—_ a garage,’” he said, referring to a quote attributed to the taboo-breaking transgender artist.
“When I say ‘they want to kill every last one of us’ I am also talking about us queers, not just the Jewish community,” Boy George said. “When will you wake up?”
This article originally appeared on JTA.org.
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