Path of Redemption
by Baruch Nachshon
acrylic on canvas
5759/1999
14.5″ X 9″

Three figures are depicted moving across a turbid sea of angry waves, symbolizing the trials of exile. Each figure is wrapped in a talit, and lit by the inner flame of their its soul- dedicated to the service of the creator. Each figure combines a human form with the bottom half of a fish, suggesting the ancient tradition that the righteous in holiness are likened to fish in water. The fish allegory also derives from the fact that the fish were spared the ravages of Noah’s flood, as the righteous will be spared the turmoil preceding the final redemption. In accordance with their holy elevation, the three figures are seen floating peacefully above the furious surf that does not trouble them.
All of the three figures are using each of their hands to serve God, and each object that they hold represents another commandment fulfilled, leading them steadily to redemption. Moving from the left of the canvas, in keeping with the figures’ own movement from left to right, the religious objects are: In the hands of the first figure, the four species which Jewish people are commanded to bring together on the holiday of succot and an ornate goblet representing the sanctification of God by the blessing over wine. The second figure blows a shofar with one hand, and in the second arm clutches a Torah scroll. The third figure carries two items that are essential to the service in the Temple of Jerusalem: a seven branched menora, and a lyre to accompany songs of praise to God.

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Towards the Light
acrylic on canvas
5759/1998
13″ X 24″

The large figure that dominates the canvas represents the prayer of the righteous as it wings heavenward, against a backdrop of divine radiance. The figure is consumed by flame as it strives to cleave to the essence of God, who is described as “an all-consuming flame.” (Deut. 4) Upon its body burn seven smaller flames, the number seven being a central motif in the art of Nachshon. If seven represents the consummation of temporal existence, eight is that which transcends and elevates beyond the mundane. Thus the base of the figure is ringed by eight forms suggesting dancers who rejoice upon the elevation of the soul through prayer. The figure is borne upwards by a pair of wings of holy flame to signify the two modes by which a human communes with the creator: love and awe, and the face of the figure is always turned toward the source of divine light.

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A short film from the mid-seventies of French director Claude Salzman the artist  Nachshon in amazing

documentation photos Enjoy!

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Baruch Nachshon – A Great Jewish Painter

Nachshon, wearing a beret and beard, revealed to me his unusual history. Born in Haifa, he already displayed a love for art when he was 3 years old. As a young boy he was introduced to Solomon Neroni, a disciple of the famous French impressionist, Paul Cezanne. He spent 7 years in this great master’s presence. But his turning point came when he encountered Lubavitch. This happened through hearing the nostalgic, haunting nigunim (melodies) of Lubavitch, which drew him to the deep world of the Tanya, which revealed to Nachshon the “essence of the Torah.” This led to his longing for the mystical.During my last visit to Israel I was exposed to two great Jewish artists. One was Hermann Struck, whose exhibition in Haifa was described in one of my previous columns (“Hermann Struck: Jewish Artist, 1876-1944,” July 8, 1994). The other one was Boruch Nachshon, whose visit to me was one of the most memorable experiences I had in Israel. Nachshon has been called the most important Jewish artist of our generation in that he expresses the deepest layers of the Jewish soul and tradition in his deeply symbolic and significant paintings, which at the same time display an outstanding artistic talent.

He decided to travel to Brooklyn to see the Lubavitcher Rebbe in person. He was privileged to have a yechidus (private session) with the Rebbe, which lasted three hours. The Rebbe discussed with him art and art’s potential message, about which the Rebbe had a great deal to tell him. In fact the Rebbe was so impressed with the young artist, that he arranged a scholarship for him to study painting in New York.

Back in Israel, Nachshon and his family settled in Hebron after the Six Day War in 1967. The city fascinated Nachshon. He roamed all over its hills and dales, discovering its ancient spirit. He savored its holy air, permeated by the presence, for over 3,6000 years, of sainted Jews, starting with our father Abraham.

Nachshon painted Hebron and its inhabitants incessantly. He rented a room across from the Maarat Machpelah (Cave of the Patriarchs) and established there the first-ever art gallery in the holy city of Hebron. His penetration into mysticism grew from day to day. An old chasid kept telling him that in order to experience G-d’s presence in Hebron, he must read and re-read the Book of Psalms daily. As an artist, he was waiting for the kind of visions that could be translated into visual art. Finally, he had an overpowering experience, which he describes as follows: “Once during the morning prayers at the Cave of the Patriarchs, the heavens opened up before my eyes and I saw visions beyond our plain existence. Since then, the heavens have opened up for me on numerous occasions, and what I have seen I have translated into shapes and colors.”

He started traveling to exhibit his paintings in various cities, starting with London, thereafter, Australia, Hong Kong, San Francisco, Los Angeles, Argentina — and, of course, New York.

The Lubavitcher Rebbe encouraged him to exhibit his paintings near 770 Eastern Parkway, the Lubavitcher headquarters, and the Rebbe himself — in an unprecedented act — visited the exhibition for a long time and invited Nachshon to another extended yechidus. During this yechidus the Rebbe suggested to Nachshon to paint biblical themes, especially on the lives of the Patriarchs. The Rebbe’s remark to Nachshon was “Many generations have passed, yet art has still not reached it’s true Tikkun (fulfillment and perfection in accordance with the Torah).” Nachshon has made it his life’s mission to fulfill the Rebbe’s wishes and dreams in the area of art and aesthetics.

Nachshon has also developed a unique technique of expressing his ideas through colors. He depicts the struggle between good and evil by contrasting dark, wild beasts for evil with flowers and a shofar — in light colors — for goodness and survival. The theme of redemption is symbolized by candles shining brightly. The shape of his objects could almost be called surrealistic. However, these are not the way-out, unbalanced images of Salvador Dali, but sharply delineated images and representations. The Rebbe himself is sometimes the central figure in his paintings, surrounded by lofty birds and sunlight.

Nachshon said this about G-d’s creation and his own experience of it:

“To stand silently covered by a Tallit and crowned with Tefillin, near the Cave of the Patriarchs and to be inside the letters of the prayers, to see them shining and to begin to see the meaning of the scenery developing from word to word … a scenery of infinite light that was in a state of constant flux, and to see the waters of G-d’s wisdom, the infinite influence that comes from above, and to have the will to see more and more …”

The strength of Nachshon’s painting is so outspoken, that it has happened to him that a completely secular person may step up to him and ask to buy one of his paintings by saying, “Your painting reminds me that I am a Jew.” Such strength seldom flows from the work of the many other Jewish artists who have conquered the world of art in the last 100 years. Nachshon comments on that aspect of his art: “My art aims at awakening the slumberer — to arouse the Jewish soul and help connect it with its Source.” His strong belief in the coming of Mashiach, of course, also shines through his paintings and gives the viewer, as one observer commented, an emotional overview of the wonders that await us in the Messianic age.

Although Nachshon has not been in the United States in several years, it is my hope that a gallery will soon be found that can exhibit his outstanding works, which will without a doubt attract the widest attention — not only in the Jewish world — but also in the world of the leading experts in the arts in general.

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