GEBOIREN OIF TZU KVETCHEN
Is based on the first Chapter ot Michael Wex book Born to Kvetch,
Kvetchenzaij bakluguen is nit blois a shpas, oder di enfert tzu shlejte tzeiten oder shvirikaiten. Kvetchen is a leiben stil dos hot gurnisht tzu tien mit di meiglijkait tzuoisfiren dos vos nen vil oder men zujt in leiben.
Kvetchen, complaining is not just a joke, or the response to problems or difficult times. Kvetchen is a way of living that is not related with the possibility of accomplishing what you want or what you pursue in life.
Men ken zij kvetchen as men is zat oder ven men is hunguerig, ven men is tzufriden oder ven men ist un glicklich, es ist a mitle of tzu vissen est ist a mitlle zeij tzu zorguen vos kickt oif di velt mit colierte gleizer.
One can kvetch when one is satisfied or when hungry, when you are happy and content, it is a way to worry kind of looping into the World with colored glasses.
Kvetchen is a weig oid tzu aroisbreing a bisl fargueniguen bay backluguen zij, men tit of tzelujesder velt, a velt vos ist nisht fraindleich oder michet deij,
Kvetchen is a means to extract some satisfaction by complaining, a means to annoy the world that doesn’t like you or disturbs you.
Barasch was born to Menachem and Gusta Barasch and grew up in Czernowitz. […] His father was a Zionist who introduced his son to the tradition of Haskala, the Jewish Enlightenment.
The young Barasch showed himself to have substantial art talent. By age 12, he had already exhibited his drawings and paintings in Czernowitz, Prague, Budapest and Boston, which he visited. He wrote daily in his notebooks, one of which was a diary. As a member of the Haggana, the Jewish military organization later to become the Israeli army, he used his artistic skills to forge passports for fleeing Jews. […]
Barasch was Senior Visiting Fellow at the Harvard Univ. Center for Italian Renaissance Studies (“I Tatti”), Florence, in 1969. He was appointed Jack Cotton Professor of the History of Art and Chair of of Institute of Fine and Performing Arts, Hebrew University in 1971, which he held until 1975, intermittently acting as a Visiting Professor and Research Associate at New York University between 1970-79. He was Senior Fellow at Cornell University’s Society for Humanities in 1981and the same year Distinguished Visiting Professor at the Pennsylvania State University.
In 1982 he taught as a visiting professor at the Freie Universität, Berlin. He published the first edition of his collected documents on the history of art theory in 1985. Between 1986-88 he taught at Yale University. In 1987 he published his Giotto and the Language of Gesture, major contribution to the literature on that artist. He became emeritus in 1988. In 1996 he was the recipient of the Israel Prize, and elected corresponding member of the Heidelberg Academy of Sciences. Barasch was the first Israeli art historian to attain worldwide recognition, lecturing widely at institutions in Europe and the United States (Freedman). […]
His lectures and books, many of which were written in Hebrew, helped to develop the art historical terminology in that language and drew attention to many of the themes that were to attract scholars in the humanities. Three generations of Israelis grew up on the books he wrote, edited. He was also instrumental in having important art history texts translated into Hebrew. Francis Peters’ 1985 book on Jerusalem was dedicated to him and his wife.
Artibus et Historiae, Vol. 9, No. 17 (1988), pp. 127-135
Reflections on Tombstones: Childhood Memories
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Elderly Jew – Arthur Kolnik (Ivano-Frankivsk 1890 – 1972 Paris)
Paris Scene with Nude – Bernard Reder (Czernowitz 1897 – 1963 New York)
Self Portrait – George Löwendal (Saint Petersburg 1897 – 1964 Bucharest)
Bukovinian Landscape – Paul Verona (Braila 1867 – 1946 Bucharest)
Female Nude – Berthold Klinghofer (Paltinoasa 1899 – ? Italy)