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Lot Essay
Litvinovsky immigrated to Israel in 1912 and joined the Bezalel Art Academy upon the invitation of Boris Schatz. After spending only one year in Jerusalem, he returned to St. Petersburg to complete his art studies.
Litvinovsky returned to Israel in 1919 with his wife. On the advice of his friend Menachem Shemi, the Litvinovskys joined him and settled in Tiberias, moving back to Jerusalem in 1921. Litvinovsky took part in the 1925 and 1926 Midgal David exhibitions. He was a member of the Eretz Israeli Avant-Garde, and designed the modernist logo for the Ohel Theatre Group in 1925. He took part in three modernist artists exhibitions held at the Theatre between 1926-1928. His work of the 1920s combines his admiration for the Russian Avant-Garde and the early works of Chagall, naïve, boldly coloured, and yet he immersed himself in the quaint existence of the Jewish life in the Orient.
In the Interior of the Synagogue in Petah Tikva the scene is flanked by the geometric shapes of the synagogue benches; two of them lying/floating upside down, as the worshippers sit and hold discussions on the floor. The figures huddled over their studies are reminiscent in colour and form of Persian miniatures. The artist imbues his sense of humour into this pious composition.
Litvinovsky returned to Israel in 1919 with his wife. On the advice of his friend Menachem Shemi, the Litvinovskys joined him and settled in Tiberias, moving back to Jerusalem in 1921. Litvinovsky took part in the 1925 and 1926 Midgal David exhibitions. He was a member of the Eretz Israeli Avant-Garde, and designed the modernist logo for the Ohel Theatre Group in 1925. He took part in three modernist artists exhibitions held at the Theatre between 1926-1928. His work of the 1920s combines his admiration for the Russian Avant-Garde and the early works of Chagall, naïve, boldly coloured, and yet he immersed himself in the quaint existence of the Jewish life in the Orient.
In the Interior of the Synagogue in Petah Tikva the scene is flanked by the geometric shapes of the synagogue benches; two of them lying/floating upside down, as the worshippers sit and hold discussions on the floor. The figures huddled over their studies are reminiscent in colour and form of Persian miniatures. The artist imbues his sense of humour into this pious composition.