MURRAY BLOOM

SPECKSYNDER

HIGHER LEARNING

WHERE ARE WE ?

HOMEWARD BOUND

REBELLION • 24” x 35” • 1982

A TRIBUTE THE WHALING INDUSTRY OF THE 1800’S WHEN THE NEW ENGLAND WHALE FISHERIES WERE LIMITED BY THEIR TECHNOLOGY AND UNABLE TO DECIMATE THE WHALE POPULATION. TODAY, THE JAPANESE AND RUSSIA AND ARE MAKING UP FOR LOST TIME.

EXODUS • 33’x24” • 1982

THE SEI WHALE, A SPECIES RAPIDLY DISAPPEARING, TO MY SORROW, HAS DECIDED TO LEAVE THE OCEAN TO THOSE WHO DESPOIL IT WITH THEIR NEGLECT AND DEBRIS. RATHER THAN CONTINUE TO BE HUNTED, THE WHALE HAS GONE ON STRIKE. HE IS LEAVING TO FOLLOW THE CHILDREN WHO ALREADY LEFT. PERHAPS AS A REACTION TO POTENTIAL NUCLEAR DESTRUCTION OR WAR, THEY HAVE LEFT ONLY THEIR TOYS AND FEARS BEHIND. YOU DECIDE WHERE THEY HAVE GONE.

TIME TO GO

BIRTH • 34”x 27” • 1984

MAN BY NATURE, REQUIRES ORDER AND STRUCTURE TO SURVIVE. HE IMPOSES BOUNDARIES AND, IN EFFECT, IMPRISONS HIMSELF IN A PROTECTIVE SHELL. NATURE, BY CONTRAST, IS FEE AND TOTALLY FUNCTIONAL. THE PAINTING RAISES MANY QUESTIONS, WHICH IS IT’S INTENT. THE VIEWER MUST FIRST DECIDE IF THE BALLOON IS RISING OR DESCENDING. THE POSSIBILITIES FOR INTERPRETATION ARE ENDLESS IN EITHER DIRECTION.

ETERNITY • 24” x 30” • 1980

THE SHARK IS ONE OF THE FEW CREATURES LEFT FROM THE TIME OF THE DINOSAURS. ONE REASON IS BECAUSE HIS FORM HAS ACHIEVED PERFECTION. ( FORM FOLLOWS FUNCTION,” TO QUOTE LOUISE SULLIVAN, THE NOTED ARCHITECT). I HAVE TRIED TO BRIDGE BOTH THE YEARS AND THE DISTANCE WHEN WATER, PERHAPS, COVERED WHAT ARE TODAY MOUNTAINS. PART. OF BEING AN ARTIST IS TO RECOGNIZE PERFECTION.

LOW TIDE

ENVIRONMENTAL CRISIS

TAKING CONTROL (diptych)

CHASE (diptych) • 53” x 23” • 1982

MAN AN HAS THE INCURABLE TENDENCY OF WAGING WAR UPON HIS FELLOW MAN AND NATURAL ENVIRONMENT. PERHAPS, CONDITIONS SHOULD BE REVERSED. THE APPROXIMATE COST OF AN F-15 TODAY IS 24 MILLION DOLLARS. IF THESE FUNDS WOULD BE DIVERTED, THEY WOULD DO MUCH TO PRESERVE THE ENDANGERED SPECIES, RESTORE THE ENVIRONMENT, ETC. WHILE ART SHOULD BE ABOVE POLITICS AND CAUSES, THE ARTIST HAS THE OBLIGATION TO COMMENT ON THE WORLD AROUND HIM, AND IT’S FOLLIES.

BERESHEET

ODYSSEY

LET’S GO FLY A KITE

CHASE PLANE

ANGLE OF ATTACK

DAY DREAMING

EMBRYO

KNIGHT

IMPERIAL IMPERATIVE

PASSED PAWN

DAVID AND GOLIATH

ADAM AND EVE

EIGHTH DAY

HANNAH

EZEKIEL

SAMSON AND DELILAH

TOWER OF BABEL • 31”x25” • 1980

Man constantly strives to achieve and to acquire. The Biblical tradition regarding the Tower of Babel was that it was built a mere 340 years after the Great Flood, which was a punishment for man’s evil ways. The tower was built as a way to avoid a future flood. This was not only foolish, but disrespectful of God’s power and erroneous thinking. On a more scientific approach - did man originally come from the sea? If so, when is he going back?

POTIPHAR’S WIFE

MIRIAM

THREE WISE MEN

A WOMAN OF VALOR

“HOW MUCH BETTER IS THY LOVE THAN WINE”. SONG OF SONGS 4:10

“BEHOLD, THOU ART FAIR; MY BELOVED, YEA, PLEASANT”. SONG OF SONGS I:18

MAN IN TEFILLIN

KETUBAH II

KETUBAH I

KETUBAH III

KETUBAH IV

SHALOM GREETING CARD

HANUKKAH GREETING CARD

ROSH HASHANAH GREETING CARD

WEDDING INVITE

BAR MITZVAH INVITE

ELIJAH MOSAIC

JERUSALEM MOSAIC

MEGILLAH

This work is essentially decorative in nature. The alternating lines of Hebrew text are taken from the beginning and the end of the Book of Esther. Thus, we have the entire story depicted in one block of text, signifying the unity of God. The reason for this is as follows: The Book of Esther begins with the word “vayehi” and ends with the word “zar’o”. The numerical value for these two words is 314, the same as “Shaddai”, the name of God. This is the one book in scripture in which the name of God does not appear. Because of this it is permitted to decorate this book with all manner of artistic efforts. It is assumed that God is present throughout this book, and guarding his people even if his name is not written.

THE SEAT OF POWER

“Now it came to pass in the days of Ahasuerus - this is Ahasuerus who reigned from India even unto Ethiopia, over a hundred and seven and twenty provinces…” I:1

The beginning of the story that threatens the existence of the Jews living in Persia is symbolized by the use of gray as the dominant color. Blue represents the Jews while red-violet stands for the combination of royalty and blood. A combination usually found together throughout history. It is they who plot the ultimate destruction. The king’s features are taken from a portrait of Darius, who was the son of Esther and King Ahasuerus, and who was instrumental in the rebuilding of the temple. I have tried to use authentic images wherever possible and this portrait comes from the Persian ruins at Persepolis. The squared-off beard was a mark of royalty and worn only by kings and princes. There is some suggestion of a palace or fortress which stands for the seat of the king’s power, Shushan. The stairway shades towards purple, the royal color. But as powerful as the king was, as strong as his fortifications, as vast as his wealth and empire were, he was unable to attain his goals. The stairway, symbolic of the throne, ends abruptly, as does the threat to the Jewish people. There are many historical parallels.

JELLYBEANS ARE NOT KOSHER

An eerie surrealism fills the landscape. The castle is as endless as the 127 provinces of the Persian kingdom and intrigue is just as pervasive symbolized by the chess board) through the royal party, a hollow party marked by the forced attendance of the absent Jewish guests. The empty ghostly mask, the logo of the series, convey forbidding rather than carnival gaiety heightened by a bunch of grapes and a single wine cup. The most significant item on the menu is the bowl of jelly beans, directly associated with the happy confluence of President Reagan’s inauguration and the freeing of the American hostages from another Persian conspiracy.

VASHTI

“On the seventh day when the heart of the king was merry with wine, he commanded the seven chamberlains…to bring Vashti the Queen before the king with the crown royal, to show the people and the princes her beauty, for she was fair to look on; but the Queen Vashti refused to come at the king’s command.” I: 10-12

Vashti, the reigning queen, had to be removed in order that Esther be in a position to save her people from destruction. The queen was ordered to appear before the court wearing only her royal crown. It was customary for wives of court members to dance in the nude at these parties. The king was drunk and when taunted by his court that his queen was beautiful only because her royal wardrobe and budget, he commanded that she appear without them. The queen refused to obey this command. As disobeying the king was too dangerous a precedent to allow to go unpunished, Ahasuerus was obliged to punish her as an example to her subjects. A midrash states that she was punished in this manner because she made her Jewish female slaves work naked on the Sabbath. The manner of her execution is not clear. If she was hanged or beheaded, when the king became sober there would be a body and grave to mourn. It is felt that she was burned, thus leaving no visible trace of her remains. This sudden and unalterable vacuum made it easier for Esther to become queen. Time was an important element.

THE BEGINNING OF MIRACLES

“And the king loved Esther above all the women and she obtained grace and favor in his sight, more than all the other girls; so that he set the royal crown upon her head, and made her queen in place of Vashti”. II:17

The predominant color used is purple, the color associated with royalty. Esther is now within the palace. Oriental forms are used: arches, etc. These fenestrations can also be viewed as keyholes, a symbol also fraught with meaning. Much of the research done for this exhibit was taken from records of the early Persian Empire around the time of Darius I. As the only Jew in the harem, Esther is essentially alone. She is being watched by the king, who seeks a queen, and by God who is seeking a redeemer. She continues to observe Jewish law and by using a different serving-maid for each day of the week and is able to keep the Sabbath. Her other maids do not know that she behaves differently on this day. The use of different maids also provides Esther with an intelligence network allowing her to know what is going on around her.

What I wished to show is Esther’s loneliness in the palace among the Persians, and her strength in being able to remain intact during the year that she spent within the harem and under observation. She is also depicted as the simple country girl that she was, frightened yet firm her dedication.

QUEEN ESTHER

“The king loved Esther more than all the other women, and she pleased and attracted him more than all the other girls. He placed the royal crown on her head and made her queen in Vashti’s place”. II:17

I have left her face unfinished for several reasons: She had deep internal beauty and well as great external beauty. Esther did not depend solely on this beauty but was able to save an entire nation through it. Esther’s origin was unknown to the King. Her name was changed by Mordecai from Hadassah. She was an enigma. Her ways were hidden. I have let off her hair in deference to the orthodox custom regarding married women. Esther herself was not as important as what she accomplished and by who’s power. With neither hair nor head, I could now omit the crown. Jewish tradition does not bestow mortal crowns. The dominant feature is her eyes and I have given them the disconcerting ability to follow the viewer around. Her strength of character, her willingness to face danger in her efforts to save her people are all mirrored there. She has come to accept the responsibility thrust upon her as a redeemer of her people. I have given her a dress worthy of a queen. This dress carries oriental motifs as the events took place in Persia and I used Spanish sources for my research. I have given the suggestion of a maternity dress, as most important person in the story is her unborn son, Darius the II, who permitted the Jews to return to Israel and eventually rebuilt the Temple.

THE LINGUIST

“In those days, while Mordecai sat in the king’s gate two of the king’s chamberlains, Bigthan and Teresh, sought to lay hands upon the King Ahasuerus”. II: 21

Mordecai had to be the one to uncover the conspiracy to kill the king, thus assuring that the king would be obligated to him. The coloring is oriental. The blues and turquoise are an attempt to be authentic with regard to Persian colors and motifs. This blue is used today in the Middle East by Arabs who paint their windows and doors to ward off evil spirits. While Mordecai dressed in the costume of the day, he was known as Mordecai the Jew and was not afraid to wear what was required of a Jew. I have shown him in local dress, but with a prayer shawl. Sitting at the King’s Gate meant that he was a judge or magistrate of a small claims court. Non-Jews were judged by the laws of the land, while Jews were judged by the Torah. Hence, the Torah scrolls are in the corner of the gate.

THE HALF SHEKEL

“If it please the king, let it be written that they be destroyed, and I will pay ten thousand talents of silver into the hands of those who have charge of the king’s business, to bring it into the king’s treasuries”. III:9

The suit of armor is my symbol for death, especially when one considers the reason for wearing armor. Just as Haman is obsessed with the death of the Jews, all the elements of this painting are concerned with life. The accepted color symbolism for green is life, self-renewal (trees, evergreens, etc) and hope. The tree is bare, just as the acceptance of the Torah and its observance were minimal at that time. But with spring, the tree buds and blooms as the Jews did from their deliverance from Haman. While the branches are important to the survival of the tree, the roots are even more important. The roots here represent the Torah. The cubes represent the loaves of silver offered by Haman to offset the loss of taxes from the destruction of the Jews. I have shown only 18 of them, symbolizing ‘chai’ of life. Haman’s armor is empty, just as his plot is doomed to defeat. The armor lives on perhaps to be admired in museums by historians or craftsmen.

GENEALOGY

“And the king took his ring from his hand and gave it unto Haman, the son of Hammedatha the Agagite, the Jew’s enemy”. III: 10

The evil forces of Haman and the king are united in their hatred of, and willingness to destroy the Jews. The open rectangular solid symbolizes this unifying of forces. Red is the color of war and blood, death and destruction. Every important official in the Persian empire was given a signet ring by the king as a symbol of his authority. There were, however, many things that an official could not do without the king’s permission. Ahasuerus gave Haman his own signet ring, granting him authority to do whatever he devised on his own with regards to the Jews. He needed no further permission from the king. The ring is not completed. It is flawed, just as the plot to destroy the Jews is flawed. Night is falling for the Jewish people. Night is symbolic of evil and darkness, the unknown. The eventual outcome of human’s plot is unknown and yet there are stars visible, for all is not without hope. The line on the right of the painting is rainbow-hued and stands for light (natural light is composed of the colors of the visible spectrum). It also serves as a reminder of the rainbow, when another promise was given. It can also symbolize the timelessness and continuity of the people of Israel. It begins in the ground and reaches the sky (God?). The small, bright area at the center of this line is for the “lamed-vov tzaddikim”, that small group of 36 righteous people that permits God to put up with the rest of us.

INTERVIEW

“…when the king saw Esther the Queen standing in the court, that she obtained favor in his sight; and the king held out to Esther the golden scepter that was in his hand.” V:2

This was a moment filled with rage and frustration for the king. He had summoned Vashti so many times, but she refused to come to him, and was put to death for her disobedience. Now Esther was violating the law by coming to him without being summoned. The irony was that his law demanded her death, as well. The tension and danger to Esther is indicated in the design of the upper two-thirds of the painting. The use of dark, ominous colors. The linear treatment conveys this tension by inducing a restlessness in the viewer. This area also signifies the role played by God, overseeing and controlling the drama. The king is portrayed as an integral part of his throne, and equally unfeeling and as ignorant as the inanimate object on which he sits. He is manipulated by all. Esther has endangered herself in order to make a request which ultimately brings about the removal of the threat to the Jews. Gray symbolizes mourning, possibly death, which Esther hopes to combat by fasting and praying. These all are dark, subdued colors as this was the turning point in the story.

BILL OF FARE

“So the king and Haman came to the banquet that Esther had prepared”. V: 5

Two cups are shown, rather than three as Esther did not partake of the feast. She was still fasting. The chess game goes on! Throughout most of the paintings, I have used squares of various kinds to denote this game (which I personally love). Chess is reputed to have originated in India and from there spread to Persia. The Hebrew word for chess is the same as the Persian word for king or shah. The Hebrew “checkmate” is translated as “the king is dead”. The two cups represent the king and Haman. Esther’s role at this party was as hostess. Her intent was to lull Haman into a false sense of security and to excite the king’s curiosity about her origins. The designs on the two walls are Persian in origin and are authentic Middle Eastern motifs.

CONCOURSE D’ELEGANCE

“Then took Haman the apparel and the horse and arrayed Mordecai and caused him to ride through the street of the city, and proclaimed before him: ‘Thus shall it be done unto the man whom the king delighteth to honor’ ” VI:11

The color of the horse’s feet is the same color as that of Haman’s. For he had been brought down to the level of the beast. Rather than attempt to portray the traditional parade with the twenty-seven thousand men carrying gold cups and pillows before the procession, I chose to use a mottled background signifying happiness and gaiety. Green is symbolic of hope and renewal (life). The golden boxes stand for the king’s garments which Mordecai was commanded to wear. I am not as concerned with a literal depiction of Mordecai here as I am with the symbolism of the event. As to whether he was wearing a crown as stipulated, or t’phillin, or both at the same time does not matter. Jewish tradition does not recognize mortal crowns. There are crowns of Torah, a good name, etc. that are more vital. I put the crown on the horse’s head which was a common practice in those times, and a diplomatic way for Mordechai to avoid insulting the king. The legend of the chamber-pot contents and Haman’s daughter is well known. Hence the window in the upper-left is empty, since she has already fallen out. This legend, or midrash also explains the suspicious stains that are on Haman’s hat and shoulders. The figure is taken from the carvings found at the ruins of Persepolis, Persia’s ancient capital.

INSIDE - OUTSIDE

“So the king and Haman came to the banquet with Esther the Queen”. VII:1

The emphasis at this second party is on drinking. The standing cups represent The King, Esther, Mordechai and the remaining standing cup the Jewish people. The fallen cup is Haman whose downfall immediately follows. Food is being served and since Esther has completed her fast, she is able to join them at this time. The break in the upper squares following the blue of the sky to be seen symbolizes divine supervision of the entire climax. I’ll leave it up to the viewer to decide whether the royal visage depicted represents Ahasuerus or his unborn son, by Esther.

CRIME AND PUNISHMENT

“So they hanged Haman on the gallows that he had prepared for Mordechai”. VII: 10

Upon the advice of his wife and supporters, Haman prepared a gallows, fifty cubits high. Impaling is probably meant, since hanging was not a Persian method of capital punishment. “They covered Haman’s face…” (VII:8) In token of the sentence of death. This was the practice among the Greeks and the Romans. It is not mentioned, however, anywhere else as a Persian practice. There is an interesting legend to the effect that all the various trees put forward a claim on the basis of their virtues, that Haman should be hanged on them. The thorn bush was chosen however since it had no virtues. Mordechai’s gallows were truly “measure for measure”. He was hanged wearing his robes of state, so that all could recognize him. The king wanted Haman to hang there and be recognizable for a long period of time, therefore he had a sort of umbrella set up over Haman’s body so that the birds would not eat his flesh. Haman was hanged as a common criminal rather than executed by the sword, as befitted a nobleman. In the Bible, the sons of Haman are hung separately. The one figure used in the painting is in keeping with the midrash, representing Amalek, who stands for all the enemies of Israel - past, present and future.

OR EIN SOF (THE UNENDING LIGHT)

“The Jews had light and gladness, and joy and honor”. VII: 16

During the period of persecution, many Jews had remained in hiding. This was their first opportunity to go out into the daylight. It was virtually an insult to be called a Jew. Now it was an honor. The ascent, or going up, symbolized by the four figures stands for the arbah kanfot, or tallit katan which every Jewish male must wear. Four has many meanings in Jewish tradition… the four winds, the four corners of the earth, the four sons (from the Passover Hagaddah), etc. Essentially, the Jews are now emerging from darkness to light. Previous paintings used squares and cubes as unifying elements. This painting is composed primarily of circles, symbolizing the unity of the world as we know it and the fulfillment of the Jews in returning to their commitments. The strong central spiral is symbolic of the or ein sof, or unending light. This light contains the entire plan of the universe. God and the universe are one (as recited in the Sh’ma). This is further borne out by the failure of Haman’s attempted genocide. The Jews also had another honor. They were under an edict forcing them to forget the Torah. Now they were encouraged and commanded to return to its study.

CELEBRATION

“But the Jews were in Shushan assembled together on the thirteenth day thereof, and on the fourteenth day thereof; and on the fifteenth day of the same they rested and made it a day of feasting and gladness” IX: 18

Essentially, this is a happy time. A time for music and dancing to celebrate their deliverance. The harp represents this. The custom of sending gifts so that even in happiness, the needy are not forgotten, is reflected in the gift wrapping on the palace. Since Persia keeps coming back as a focus of world events, I have used the yellow ribbon. This is now an accepted part of American symbology and stands for the captivity of the hostages in Iran.

CONTINUANCE

“The Jews had light and gladness and joy and honor.” X:16

“…and the commandments of Esther confirmed these materials of Purim; and it was written in the book”. IX: 32

When Esther told Mordechai to go and gather all the Jews (IX:32), she stressed the need for unity. The dominant image in this painting is the circle and its variations. The circle is a perfect form, united in all its parts. This was how Esther envisioned the future. It was this same spirit of unity that caused all the jews, even outside the Persian empire, to celebrate Purim. The variations of the circle symbolize the various peoples comprising the nation of Israel. The scrolls, or rather the handles, are evident. It was permitted to write the story of Esther on parchment. Like the Torah, but with one handle or roller rather than two. This serves to distinguish them. The radiance of the spirit at the center of the circles is the divine presence. I have tried to keep this in a more abstract manner than the other paintings. Divinity is difficult to understand, much less portray. The present danger to the nation of Israel had passed and the future was open. The temple would be rebuilt and exiles would, one day return home.

ROOSTER

SELF PORTRAIT

GIRL AND GOOSE

CLOWN

“LEARNING REQUIRES A TALENT FOR SITTING.” NUMBERS : 49

“EXPERIENCE IS THE NAME PEOPLE GIVE THEIR MISTAKES.”

“CONSCIOUS IS THE INNER VOICE THAT TELLS US THAT SOMEONE IS WATCHING.” TALMUD

“THE MAN WHO WORKS IS BLESSED.” MIDRASH PSALMS : 23

“INNOCENCE GOES WITH PEACEFULNESS.”

“WHEN THE SMART TALK TO THE STUPID, BOTH ACT LIKE FOOLS.” YEBAMOTH : 63

“LOGIC OPENS A UNIVERSE OF FREEDOM.”

“WITH LITTLE OR WITH MUCH, BE CONTENT.” APOCRYPHA

“ILLUSIONS ARE COMFORTING; JUST DON’T ACT UPON THEM.”

“THE MAN WHO HAS UNDERSTANDING HAS EVERYTHING.”

“IF YOU LIVE LONG ENOUGH, YOU’LL SEE EVERYTHING.”

“IT BRAKES NO LAW TO BE COMFORTABLE.”

“TRUTH IS THE GREATEST ELOQUENCE.” “LA MEJOR ELOCUENCIA, LA VEDRA.” LADINO SAYING

“SPEAK THE TRUTH AND LOSEE FRIENDS.” POR HABLAR LA VERDAD, SE PIERDE LA AMISTAD.” LADINO PROVERB

“A SAGE TAKES PRECEDENCE OVER KINGS.”

LIMITED EDITION LITHOGRAPH • 1980

LIMITED EDITION WOODCUT • 1975

LIMITED EDITION WOODCUT • 1974

LOGO DESIGNED FOR CONGREGATION AGUDATH ISRAEL CHOIR • 2013

LOGO COMMISSIONED FOR THE SUZUKI MUSIC ASSOCIATION OF CALIFORNIA FOR THE “CHILDREN TO CHILDREN” CONCERT . A FUNDRAISING CONCERT FOR AFRICAN RELIEF. EVENT TOOK PLACE AT FOREST LAWN MEMORIAL PARK, HOLLYWOOD HILLS, CA • APRIL 1985

“WHEN YOU POUR OUT YOUR HEART, IT FEELS LIGHTER.” MAIMONIDES

ILLUSTRATION COMMISSIONED BY AKIBA ACADEMY FOR AN EVENING CONCERT WITH NEAL STULBERG, ASSISTANT CONDUCTOR OF THE LA PHILHARMONIC. EVENT TOOK PLACE ON JULY 1984, AT SINAI TEMPLE, LOS ANGELES.

MAYA’s ROOSTER MOSAIC