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How ‘Had Gadya’ inspired famed Catholic painter Frank Stella, a leader of the Minimalist art movement
(New York Jewish Week) — “Had Gadya,” the playful song about a destructive chain of events starting with one little goat, may be best-known for rousing sleepy children at the end of a long Passover seder.
But it is also the basis for a series by Frank Stella, the 87-year-old Catholic American artist credited with catalyzing the Minimalist movement of the 1960s. His 12 vibrant, abstract “Had Gadya” prints, completed between 1982 and 1984, are now on display at the Dr. Bernard Heller Museum in New York City.
The works were loaned by collector Elissa Oshinsky for a tour of the Los Angeles, Cincinnati and New York campuses of Hebrew Union College-Jewish Institute of Religion (HUC-JIR). The Heller Museum at HUC-JIR celebrated its exhibition opening on Sept. 7 and will host it until Feb. 29.
“Had Gadya” is one of the earliest children’s songs in recorded history, dating back to a 14th-century prayer book from Provence. It appeared in a manuscript attached to the Prague Haggadah of 1526, then in print for the first time in the Prague Haggadah of 1590.
Each of Stella’s prints follows a stanza of the song, which details series of disasters in the style of a cumulative nursery rhyme. A father buys a little goat, which is eaten by a cat. The cat is bitten by a dog, the dog beaten by a stick, the stick burned by a fire, the fire quenched by water, the water drunk by an ox, the ox slaughtered by a butcher, the butcher killed by the Angel of Death — who is finally slain by “the Holy One, Blessed be He.”
In Stella’s abstract rendition of “Had Gadya,” this narrative is driven by dynamic, repeated shapes and colors, said Jean Bloch Rosensaft, the director of the Heller Museum.
“The repetition of different forms, from piece to piece, creates a kind of continuity, telling that lyrical story of successive acts of victimization that are ultimately resolved by God to bring peace and order to the world,” Rosensaft told the New York Jewish Week.
Stella, 87, who was not available for an interview, took inspiration from a 1919 series of “Had Gadya” illustrations by the Russian-Jewish avant-garde artist El Lissitzky. The museum exhibit shows Lissitzky’s lithographs, full of Yiddish typography and shtetl settings, next to Stella’s versions.
From left: Frank Stella, “Had Gadya: Back Cover,” 1984 and “Had Gadya: Then came a dog and bit the cat,” 1984. Collection of Elissa Oshinsky. (©2023 Frank Stella/Artists Rights Society [ARS], New York)
In Lissitzky’s original works, the story of “Had Gadya” — and God’s intervention in the final act — was a metaphor for Jewish victory after the Russian Revolution of 1917. Then, under the new Soviet regime, Jews briefly found freedom from persecution, a triumphant moment that elevated Jewish artists such as Lissitzky and his contemporary, Marc Chagall. Unfortunately, that window of opportunity had closed by 1932, as Stalin waged war on avant-garde and Jewish art. Lissitzky’s “Had Gadya” was among the first works to be destroyed by Stalin’s government and only a few copies survive.
Stella first saw Lissitzky’s illustrations while visiting the Tel Aviv Museum in 1981. Marc Scheps, then-director of the museum, recalled in a 1986 exhibition catalog that the artist stood in front of Lisskitzky’s pieces and said, “maybe I’ll do something about these.” The famously terse artist was known for heralding Minimalism with his remark,“what you see is what you see.”
Although Stella is a Catholic Italian-American who grew up in Massachusetts, European Jewish themes are prominent in his work. As a breakthrough artist in his early 20s, he gave his 1958-59 black pinstripe paintings the titles “Arbeit Macht Frei” (“Work Sets You Free,” the slogan on the entrance gate to Auschwitz); “Reichstag” (the German parliament building that burned in 1933 as the Nazis consolidated their dictatorship), and “Die Fahne Hoch” (“The Flag High,” the first words of the Nazi Party anthem).
In 1960, his painting “The Final Solution” depicted an equilateral cruciform — a Catholic symbol of martyrdom, as well as a shape that Stella called a “truncated swastika.” Later, during a lengthy hospitalization in the 1970s, he produced thousands of drawings and 130 mixed-media paintings inspired by photographs of Polish wooden synagogues that were built in the 17th-19th centuries and destroyed in the Holocaust. He titled the paintings after the burned synagogues’ lost communities, saying that he wanted to commemorate “the obliteration of a culture.”
Stella was a child when the United States went to war with the Nazis, an enemy whose visual impact stayed with him. His artistic eye developed during trips to the movies, which frequently showed newsreels of Nazi rallies and marching soldiers. In the 1976 catalog for “Frank Stella: The Black Paintings,” his exhibition at the Baltimore Museum of Art, he said that the painting “Die Fahne Hoch” — which comprises black bands of paint crossing narrow, bare spaces of canvas — reminded him of a waving flag.
“The thing that stuck in my mind was the Nazi newsreels — that big draped swastika — the big hanging flag — has pretty much those dimensions,” he said of the proportions of his canvas, which was 10’1” by 6’1”.
A detail of the “Chad Gadya,” with illustrations by “LOLA” from the 1928 Hebrew Publishing Company “Haggadah.” (Wikipedia)
Another deep influence on the artist was his circle in New York during the 1950s, ’60s and ’70s, according to art historian Carol Salus. Stella was close to many Jewish friends, art critics, dealers and museum directors. Perhaps most formatively, he was married to the Jewish art critic Barbara Rose between 1961 and 1969. During that time, Rose traveled to Berlin to confront her anxieties tied to the Holocaust. Mark Godfrey, the author of “Abstraction and the Holocaust,” reported her saying, “The thing I was most afraid of was Nazis, so I went to live with them.”
Rosensaft, herself the child of Holocaust survivors, said she believed that Stella absorbed from his surroundings “a kind of Jewish soul.”
The words of “Had Gadya” have prompted various interpretations among rabbis, scholars and ethnomusicologists. Some say the little goat represents the Jewish people and each successive attack represents a world power that exiled the Jews, such as Assyrians, Babylonians, Persians, Greeks, Romans and the Crusaders. Others say the song is about God’s triumph over all, even the Angel of Death.
For Rosensaft, the “Had Gadya” exhibition mirrors a world of proliferating tragedies while offering hope and redemption in God’s final victory over death. Four decades after Stella completed the series, she believes it will resonate with museum visitors who feel caught in a continuous onslaught of suffering — whether their afflictions come from environmental disasters, endemic racism, refugee crises or fall-out from the COVID-19 pandemic.
“What I am so taken with in Stella’s ‘Had Gadya’ is ultimately his message that hope and goodness prevail — that there is hope, there is the possibility of a brighter, better future,” she said.
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The post How ‘Had Gadya’ inspired famed Catholic painter Frank Stella, a leader of the Minimalist art movement appeared first on Jewish Telegraphic Agency.
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US House Members Ask Marco Rubio to Bar Turkey From Rejoining F-35 Program
US Secretary of State Marco Rubio attends a cabinet meeting at the White House in Washington, DC, US, April 10, 2025. Photo: REUTERS/Nathan Howard
A bipartisan coalition of more than 40 US lawmakers is pressing Secretary of State Marco Rubio to prevent Turkey from rejoining the F-35 Joint Strike Fighter program, citing ongoing national security concerns and violations of US law.
Members of Congress on Thursday warned that lifting existing sanctions or readmitting Turkey to the US F-35 fifth-generation fighter program would “jeopardize the integrity of F-35 systems” and risk exposing sensitive US military technology to Russia. The letter pointed to Ankara’s 2017 purchase of the Russian S-400 surface-to-air missile system, despite repeated US warnings, as the central reason Turkey was expelled from the multibillion-dollar fighter jet program in 2019.
“The S-400 poses a direct threat to US aircraft, including the F-16 and F-35,” the lawmakers wrote. “If operated alongside these platforms, it risks exposing sensitive military technology to Russian intelligence.”
The group of signatories, spanning both parties, stressed that Turkey still possesses the Russian weapons systems and has shown “no willingness to comply with US law.” They urged Rubio and the Trump administration to uphold the Countering American Adversaries Through Sanctions Act (CAATSA) and maintain Ankara’s exclusion from the F-35 program until the S-400s are fully removed.
The letter comes after Turkish President Recep Tayyip Erdogan claimed during a NATO summit in June that Ankara and Washington have begun discussing Turkey’s readmission into the program.
Lawmakers argued that reversing course now would undermine both US credibility and allied confidence in American defense commitments. They also warned it could disrupt development of the next-generation fighter jet announced by the administration earlier this year.
“This is not a partisan issue,” the letter emphasized. “We must continue to hold allies and adversaries alike accountable when their actions threaten US interests.”
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US Lawmakers Urge Treasury to Investigate Whether Irish Bill Targeting Israel Violates Anti-Boycott Law
A pro-Hamas demonstration in Ireland led by nationalist party Sinn Fein. Photo: Reuters/Clodagh Kilcoyne
A group of US lawmakers is calling on the Treasury Department to investigate and potentially penalize Ireland over proposed legislation targeting Israeli goods, warning that the move could trigger sanctions under longstanding US anti-boycott laws.
In a letter sent on Thursday to US Treasury Secretary Scott Bessent, 16 Republican members of Congress expressed “serious concerns” about Ireland’s recent legislative push to ban trade with territories under Israeli administration, including the West Bank, Gaza, East Jerusalem, and the Golan Heights.
The letter, spearheaded by Rep. Claudia Tenney (R-NY), called for the US to “send a clear signal” that any attempts to economically isolate Israel will “carry consequences.”
The Irish measure, introduced by Foreign Affairs and Trade Minister Simon Harris, seeks to prohibit the import of goods and services originating from what the legislation refers to as “occupied Palestinian territories,” including Israeli communities in the West Bank and East Jerusalem. Supporters say the bill aligns with international law and human rights principles, while opponents, including the signatories of the letter, characterize it as a direct extension of the boycott, divestment, and sanctions (BDS) movement, which seeks to isolate Israel as a step toward the destruction of the world’s lone Jewish state.
Some US lawmakers have also described the Irish bill as an example of “antisemitic hate” that could risk hurting relations between Dublin and Washington.
“Such policies not only promote economic discrimination but also create legal uncertainty for US companies operating in Ireland,” the lawmakers wrote in this week’s letter, urging Bessent to determine whether Ireland’s actions qualify as participation in an “unsanctioned international boycott” under Section 999 of the Internal Revenue Code, also known as the Ribicoff Amendment.
Under that statute, the Treasury Department is required to maintain a list of countries that pressure companies to comply with international boycotts not sanctioned by the US. Inclusion on the list carries tax-reporting burdens and possible penalties for American firms and individuals doing business in those nations.
“If the criteria are met, Ireland should be added to the boycott list,” the letter said, arguing that such a step would help protect US companies from legal exposure and reaffirm American opposition to economic efforts aimed at isolating Israel.
Legal experts have argued that if the Irish bill becomes law, it could chase American capital out of the country while also hurting companies that do business with Ireland. Under US law, it is illegal for American companies to participate in boycotts of Israel backed by foreign governments. Several US states have also gone beyond federal restrictions to pass separate measures that bar companies from receiving state contracts if they boycott Israel.
Ireland has been one of the fiercest critics of Israel on the international stage since the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel, amid the ensuing war in Gaza, leading the Jewish state to shutter its embassy in Dublin.
Last year, Ireland officially recognized a Palestinian state, a decision that Israel described as a “reward for terrorism.”
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US Families File Lawsuit Accusing UNRWA of Supporting Hamas, Hezbollah
A truck, marked with United Nations Relief and Works Agency (UNRWA) logo, crosses into Egypt from Gaza, at the Rafah border crossing between Egypt and the Gaza Strip, during a temporary truce between Hamas and Israel, in Rafah, Egypt, Nov. 27, 2023. Photo: REUTERS/Amr Abdallah Dalsh
American families of victims of Hamas and Hezbollah attacks have filed a lawsuit against the UN agency for Palestinian refugees, accusing the organization of violating US antiterrorism laws by providing material support to the Islamist terror groups behind the deadly assaults.
Last week, more than 200 families filed a lawsuit in a Washington, DC district court accusing the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) of violating US antiterrorism laws by providing funding and support to Hamas and Hezbollah, both designated as foreign terrorist organizations.
The lawsuit alleges that UNRWA employs staff with direct ties to the Iran-backed terror group, including individuals allegedly involved in carrying out attacks against the Jewish state.
However, UNRWA has firmly denied the allegations, labeling them as “baseless” and condemning the lawsuit as “meritless, absurd, dangerous, and morally reprehensible.”
According to the organization, the lawsuit is part of a wider campaign of “misinformation and lawfare” targeting its work in the Gaza Strip, where it says Palestinians are enduring “mass, deliberate and forced starvation.”
The UN agency reports that more than 150,000 donors across the United States have supported its programs providing food, medical aid, education, and trauma assistance in the war-torn enclave amid the ongoing conflict.
In a press release, UNRWA USA affirmed that it will continue its humanitarian efforts despite facing legal challenges aimed at undermining its work.
“Starvation does not pause for politics. Neither will we,” the statement read.
Last year, Israeli security documents revealed that of UNRWA’s 13,000 employees in Gaza, 440 were actively involved in Hamas’s military operations, with 2,000 registered as Hamas operatives.
According to these documents, at least nine UNRWA employees took part directly in the terror group’s Oct. 7, 2023, invasion of and massacre across southern Israel.
Israeli officials also uncovered a large Hamas data center beneath UNRWA headquarters, with cables running through the facility above, and found that Hamas also stored weapons in other UNRWA sites.
The UN agency has also aligned with Hamas in efforts against the Gaza Humanitarian Foundation (GHF), an Israeli and US-backed program that delivers aid directly to Palestinians, blocking Hamas from diverting supplies for terror activities and selling them at inflated prices.
These Israeli intelligence documents also revealed that a senior Hamas leader, killed in an Israeli strike in September 2024, had served as the head of the UNRWA teachers’ union in Lebanon, where Lebanon is based,
UNRWA’s education programs have been found by IMPACT-se, an international organization that monitors global education, to contribute to the radicalization of younger generations of Palestinians.