RSS
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.
—
The post How ‘Had Gadya’ inspired famed Catholic painter Frank Stella, a leader of the Minimalist art movement appeared first on Jewish Telegraphic Agency.
RSS
Hamas Says No Interim Hostage Deal Possible Without Work Toward Permanent Ceasefire
Explosions send smoke into the air in Gaza, as seen from the Israeli side of the border, July 17, 2025. Photo: REUTERS/Amir Cohen
The spokesperson for Hamas’s armed wing said on Friday that while the Palestinian terrorist group favors reaching an interim truce in the Gaza war, if such an agreement is not reached in current negotiations it could revert to insisting on a full package deal to end the conflict.
Hamas has previously offered to release all the hostages held in Gaza and conclude a permanent ceasefire agreement, and Israel has refused, Abu Ubaida added in a televised speech.
Arab mediators Qatar and Egypt, backed by the United States, have hosted more than 10 days of talks on a US-backed proposal for a 60-day truce in the war.
Israeli officials were not immediately available for comment on the eve of the Jewish Sabbath.
Israeli Prime Minister Benjamin Netanyahu’s office said in a statement on a call he had with Pope Leo on Friday that Israel‘s efforts to secure a hostage release deal and 60-day ceasefire “have so far not been reciprocated by Hamas.”
As part of the potential deal, 10 hostages held in Gaza would be returned along with the bodies of 18 others, spread out over 60 days. In exchange, Israel would release a number of detained Palestinians.
“If the enemy remains obstinate and evades this round as it has done every time before, we cannot guarantee a return to partial deals or the proposal of the 10 captives,” said Abu Ubaida.
Disputes remain over maps of Israeli army withdrawals, aid delivery mechanisms into Gaza, and guarantees that any eventual truce would lead to ending the war, said two Hamas officials who spoke to Reuters on Friday.
The officials said the talks have not reached a breakthrough on the issues under discussion.
Hamas says any agreement must lead to ending the war, while Netanyahu says the war will only end once Hamas is disarmed and its leaders expelled from Gaza.
Almost 1,650 Israelis and foreign nationals have been killed as a result of the conflict, including 1,200 killed in the Oct. 7, 2023, Hamas attack on southern Israel, according to Israeli tallies. Over 250 hostages were kidnapped during Hamas’s Oct. 7 onslaught.
Israel responded with an ongoing military campaign aimed at freeing the hostages and dismantling Hamas’s military and governing capabilities in neighboring Gaza.
The post Hamas Says No Interim Hostage Deal Possible Without Work Toward Permanent Ceasefire first appeared on Algemeiner.com.
RSS
Iran Marks 31st Anniversary of AMIA Bombing by Slamming Argentina’s ‘Baseless’ Accusations, Blaming Israel
People hold images of the victims of the 1994 bombing attack on the Argentine Israeli Mutual Association (AMIA) community center, marking the 30th anniversary of the attack, in Buenos Aires, Argentina, July 18, 2024. Photo: REUTERS/Irina Dambrauskas
Iran on Friday marked the 31st anniversary of the 1994 bombing of the Argentine Israelite Mutual Association (AMIA) Jewish community center in Buenos Aires by slamming Argentina for what it called “baseless” accusations over Tehran’s alleged role in the terrorist attack and accusing Israel of politicizing the atrocity to influence the investigation and judicial process.
The Iranian Foreign Ministry issued a statement on the anniversary of Argentina’s deadliest terrorist attack, which killed 85 people and wounded more than 300.
“While completely rejecting the accusations against Iranian citizens, the Islamic Republic of Iran condemns attempts by certain Argentine factions to pressure the judiciary into issuing baseless charges and politically motivated rulings,” the statement read.
“Reaffirming that the charges against its citizens are unfounded, the Islamic Republic of Iran insists on restoring their reputation and calls for an end to this staged legal proceeding,” it continued.
Last month, a federal judge in Argentina ordered the trial in absentia of 10 Iranian and Lebanese nationals suspected of orchestrating the attack in Buenos Aires.
The ten suspects set to stand trial include former Iranian and Lebanese ministers and diplomats, all of whom are subject to international arrest warrants issued by Argentina for their alleged roles in the terrorist attack.
In its statement on Friday, Iran also accused Israel of influencing the investigation to advance a political campaign against the Islamist regime in Tehran, claiming the case has been used to serve Israeli interests and hinder efforts to uncover the truth.
“From the outset, elements and entities linked to the Zionist regime [Israel] exploited this suspicious explosion, pushing the investigation down a false and misleading path, among whose consequences was to disrupt the long‑standing relations between the people of Iran and Argentina,” the Iranian Foreign Ministry said.
“Clear, undeniable evidence now shows the Zionist regime and its affiliates exerting influence on the Argentine judiciary to frame Iranian nationals,” the statement continued.
In April, lead prosecutor Sebastián Basso — who took over the case after the 2015 murder of his predecessor, Alberto Nisman — requested that federal Judge Daniel Rafecas issue national and international arrest warrants for Iran’s Supreme Leader Ayatollah Ali Khamenei over his alleged involvement in the attack.
Since 2006, Argentine authorities have sought the arrest of eight Iranians — including former president Ali Akbar Hashemi Rafsanjani, who died in 2017 — yet more than three decades after the deadly bombing, all suspects remain still at large.
In a post on X, the Delegation of Argentine Israelite Associations (DAIA), the country’s Jewish umbrella organization, released a statement commemorating the 31st anniversary of the bombing.
“It was a brutal attack on Argentina, its democracy, and its rule of law,” the group said. “At DAIA, we continue to demand truth and justice — because impunity is painful, and memory is a commitment to both the present and the future.”
31 años del atentado a la AMIA – DAIA. 31 años sin justicia.
El 18 de julio de 1994, un atentado terrorista dejó 85 personas muertas y más de 300 heridas. Fue un ataque brutal contra la Argentina, su democracia y su Estado de derecho.
Desde la DAIA, seguimos exigiendo verdad y… pic.twitter.com/kV2ReGNTIk
— DAIA (@DAIAArgentina) July 18, 2025
Despite Argentina’s longstanding belief that Lebanon’s Shiite Hezbollah terrorist group carried out the devastating attack at Iran’s request, the 1994 bombing has never been claimed or officially solved.
Meanwhile, Tehran has consistently denied any involvement and refused to arrest or extradite any suspects.
To this day, the decades-long investigation into the terrorist attack has been plagued by allegations of witness tampering, evidence manipulation, cover-ups, and annulled trials.
In 2006, former prosecutor Nisman formally charged Iran for orchestrating the attack and Hezbollah for carrying it out.
Nine years later, he accused former Argentine President Cristina Fernández de Kirchner — currently under house arrest on corruption charges — of attempting to cover up the crime and block efforts to extradite the suspects behind the AMIA atrocity in return for Iranian oil.
Nisman was killed later that year, and to this day, both his case and murder remain unresolved and under ongoing investigation.
The alleged cover-up was reportedly formalized through the memorandum of understanding signed in 2013 between Kirchner’s government and Iranian authorities, with the stated goal of cooperating to investigate the AMIA bombing.
The post Iran Marks 31st Anniversary of AMIA Bombing by Slamming Argentina’s ‘Baseless’ Accusations, Blaming Israel first appeared on Algemeiner.com.
RSS
Jordan Reveals Muslim Brotherhood Operating Vast Illegal Funding Network Tied to Gaza Donations, Political Campaigns
Murad Adailah, the head of Jordan’s Muslim Brotherhood, attends an interview with Reuters in Amman, Jordan, Sept. 7, 2024. Photo: REUTERS/Jehad Shelbak
The Muslim Brotherhood, one of the Arab world’s oldest and most influential Islamist movements, has been implicated in a wide-ranging network of illegal financial activities in Jordan and abroad, according to a new investigative report.
Investigations conducted by Jordanian authorities — along with evidence gathered from seized materials — revealed that the Muslim Brotherhood raised tens of millions of Jordanian dinars through various illegal activities, the Jordan news agency (Petra) reported this week.
With operations intensifying over the past eight years, the report showed that the group’s complex financial network was funded through various sources, including illegal donations, profits from investments in Jordan and abroad, and monthly fees paid by members inside and outside the country.
The report also indicated that the Muslim Brotherhood has taken advantage of the war in Gaza to raise donations illegally.
Out of all donations meant for Gaza, the group provided no information on where the funds came from, how much was collected, or how they were distributed, and failed to work with any international or relief organizations to manage the transfers properly.
Rather, the investigations revealed that the Islamist network used illicit financial mechanisms to transfer funds abroad.
According to Jordanian authorities, the group gathered more than JD 30 million (around $42 million) over recent years.
With funds transferred to several Arab, regional, and foreign countries, part of the money was allegedly used to finance domestic political campaigns in 2024, as well as illegal activities and cells.
In April, Jordan outlawed the Muslim Brotherhood, the country’s most vocal opposition group, and confiscated its assets after members of the Islamist movement were found to be linked to a sabotage plot.
The movement’s political arm in Jordan, the Islamic Action Front, became the largest political grouping in parliament after elections last September, although most seats are still held by supporters of the government.
Opponents of the group, which is banned in most Arab countries, label it a terrorist organization. However, the movement claims it renounced violence decades ago and now promotes its Islamist agenda through peaceful means.
The post Jordan Reveals Muslim Brotherhood Operating Vast Illegal Funding Network Tied to Gaza Donations, Political Campaigns first appeared on Algemeiner.com.