1943 Palestine MOI VER Vorobeichic PHOTO BOOK Jewish WILNA Bauhaus HEBREW Israel For Sale

DESCRIPTION : MOSHE Raviv VOROBEICHIC - MOI BERof the BAUHAUS school of art, , Is best known and gained his world fame for his \"PARIS\" and\"EIN GHETTO in OSTEN-WILNA\" , Popular yet Rare , Desired and soughtafter books . However during the 1930\'s and 1940\'s , MOI VER was the GRAPHICDESIGNER as well as SOLE PHOTOGRAPHER or LEADING PHOTOGRAPHER among a fewothers of several PHOTOGRAPHED BOOKS in Eretz Israel ( Then also sometimesrefered to as PALESTINE ) . Here for sale isa FINE EXAMPLE ofthesebooks . MOI VER was theSOLE PHOTOGRAPHER and receives full credit :\" The PHOTOGRAPHS : M . VOROBEICHIC\". This is an ORIGINAL vintageBOOK with PHOTOS ofJEWISH- HISTORICAL commemoratingpurpose and orientation which was published in1943 - 4( DATEDTA\'SHAD ) in ERETZ ISRAEL ( Then also refered to asPALESTINE ) in the MIDST of the HOLOCAUST and the WW2 . The ARTISTICdocumentary PHOTO BOOKCOMMEMORATES and DOCUMENTS in text andPHOTOGRAPHStheannals ofthe eastern European JEWISHCONGREGATIONS,TOWNS and STETL( SHTETL ) in LITHUANIA ( Wilna ) , POLANDetc, and their TYPES. Congregations which were PERSHED and DESTRUCTED inthe HOLOCAUST - WW2. The book is named \"Souls in Israel\".Published in Palestine 1943-4 . Documentary yet poetic impressions of a journeyin pre WW2 eastern Europe . MOI VER is credited for theFULL PAGE photos ( At least 10 photos ) and thecover calligraphy . It seems that the ORIGINAL MOI VER PHOTOS are the oneswhich have used , At least partly , At least the ones from WILNA , For thebuild up of his PHOTOMONTAGES of \"EIN GHETTO in OSTEN-WILNA\" . Smallformat . 5 x 7 \" . 194 pp. Hard cover. Red embossed headings. Cloth spine( Original as issued ) .Very good used condition . Tightly bound . Age tanning of leaves and foxing . Slight cover wear.( Pls look at scan for accurateAS IS images ) . Will be sent inside a protective rigid packaging. PAYMENTS : Payment method accepted : Paypal& All credit cards.
SHIPPMENT : SHIPP worldwide via registered airmail is $ 25.Book will be sent inside a protective packaging . Handling around 5-10 days after payment.
Moï Ver Moï Ver (Moshé Raviv-Vorobeichic) was born in 1904 in Vilnius, Lithuania, where he also studied painting. In 1927, visited the Bauhaus in Dessau to take courses with Paul Klee, Wassily Kandinsky, and Joseph Albers, before he left for Paris to study at the Ecole de Photo Ciné. After several unrealised projects for photographic books, necessity led him to begin a career as a reporter. He immigrated to Palestine in 1934, and from 1950 he devoted himself to painting. He died in 1995. Moi Ver: Paris In Paris, his quintessential avant-garde book object published in 1931, Mo- Ver succeeds in blending dynamic photographic montage with an elaborate graphic layout. Utilizing the double-spread as one unified plane, each turn of the page not only surprises, but accentuates the charged rhythm built into the book itself. The bulk of information in these pictures documents mundane street activities in cobblestoned Paris of the late twenties. But the method in which Moi Ver chose to present his material, in its kaleidoscopic layering and frenzied repetitiveness, emphasizes an experimental approach to picture-construction; as if we, the viewers, were walking about bombarded by noise and reflected light. Within each picture, visual data is spliced with pattern, alluding to a lapse of time, as if they were short film vignettes. M. Vorobeichic, who also used the artist name Moi Ver, and whose real name was Moses Vorobeichic (1904), in Israel renamed Moshe Raviv. This painter/photographer is known for his picture-books on the Ghetto of Wilna and Paris (end of the twenties), early examples of the Bauhaus photographic style. (German) From the Preface The Jewish Lane in Light and Shadow by S. Chneour About Paris : \'The book that introduced Moi Ver to the world is exhilaratingly eccentric, definitely avant-garde.... Moi Ver\'s Paris is a city in motion, hurtling almost out of control. Cobblestone streets, bustling crowds, facades, railway tracks, bridges. the glittering river, and countless monuments shift and shatter here.... Moi Ver\'s version of Paris was eclipsed two years later by the publication of Brassai\'s more conventionally seductive Paris de Nuit, but no one has yet matched Moi Ver\'s vision of the brutal, chaotic, irresistible modern city.\'-Vince Aletti, from the Book of 101 Books In Paris, his quintessential avant-garde book, Moï Ver succeeded in blending dynamic photographic montage with elaborate graphic layouts. Utilizing the double-spread as one unified place, each turn of the page not only surprised but accentuated the charged rhythm built into the book itself. The bulk of information in these pictures documents mundane street activities in the cobblestone-covered Paris of the late 20s. But the method in which Moi Ver chose to present his material, in its kaliedoscopic layering and frenzied repetitiveness, emphasized an experiential approach to picture construction-as if we, the viewers, were walking about, bombarded by noise and reflected light. Originally published in 1931 by Editions Jeanne Walter with an introduction by Futurist Fernand Leger, now long out of print and exceptionally rare, this facsimile reproduction of Paris brings back into circulation one of the seminal photographic books of the century. \"My grandfather on my mother’s side was a photographer and artist named Moshé Raviv-Vorobeichic (who also worked under the pen name Moï Ver). He lived from 1904 to 1995. Born and raised in Vilna, now Vilnius in Lithuania, Moshé lived and worked in Paris before moving to Tel Aviv and eventually settling in Safed in northern Israel. In the late 1920s he studied at the famous Bauhaus school in Dessau, Germany, where his instructors included Paul Klée and Vassily Kandinsky. Moshe produced many paintings, especially in the later part of his career. As a young man, however, he was recognized primarily as a photographer, employing many innovative and creative techniques. Two major books of his photography were published. The first, “The Ghetto Lane in Vilna” (published in 1931) documented the everyday life of the city’s Jewish residents. In the same year, his second book, titled “Paris” was published by Jeanne Walter, with an introduction by Fernand Leger (it was republished in 2004 as “Ci-Contre - 110 Photos by Moï Ver,” by Ann and Jürgen Wilde, with commentary by Inka Graeve Ingelmann and Hannes Böhringer). An exhibition of these photographs was held in the Pinakothek der Moderne in Munich in the winter of 2004/05.\" taken from flickr. ***** Moi Ver (1904–1955) was a photographer and painter. Life and work Moi Ver was born in 1904 in Vilnius, Lithuania as Moses Vorobeichic, Moi Ver initially studied painting. In his early 20s he matriculated at the Bauhaus, taking courses with Paul Klee, Wassily Kandinsky, and Joseph Albers, and left from there to attend the Ecole Photo One in Paris. In his book Moi Ver: Paris, he produced avant-garde photomontages. Originally published in 1931 by Editions Jeanne Walter with an introduction by Futurist Fernand Léger. He adopted Zionism in 1934 and immigrated to what was then known as Palestine. Moshe Raviv-Vorobeichic (as he called himself in Israel) focus more on painting than photography and lived in Safed until his death in 1995. ***** Moï Ver Moï Ver (Moshé Raviv-Vorobeichic) was born in 1904 in Vilnius, Lithuania, where he also studied painting. In 1927, visited the Bauhaus in Dessau to take courses with Paul Klee, Wassily Kandinsky, and Joseph Albers, before he left for Paris to study at the Ecole de Photo Ciné. After several unrealised projects for photographic books, necessity led him to begin a career as a reporter. He immigrated to Palestine in 1934, and from 1950 he devoted himself to painting. He died in 1995. ******** Photomontage is the process and result of making a composite photograph by cutting and joining a number of other photographs. The composite picture was sometimes photographed so that the final image is converted back into a seamless photographic print. A similar method, although one that does not use film, is realized today through image-editing software. This latter technique is referred to by professionals as \"compositing\", and in casual usage is often called \"photoshopping\".History Author Oliver Grau in his book Virtual Art: From Illusion to Immersion notes that the creation of artificial immersive virtual reality, arising as a result of technical exploitation of new inventions, is a long-standing human practice throughout the ages. Such environments as dioramas were made of composited images. The first and most famous mid-Victorian photomontage (then called combination printing) was \"The Two Ways of Life\" (1857) by Oscar Rejlander, followed shortly by the pictures of photographer Henry Peach Robinson such as \"Fading Away\" (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants. Fantasy photomontaged postcards were popular in the Victorian and Edwardian periodsThe preeminent producer in this period was the Bamforh Company, in Holmfirth, West Yorksihire, and New York. But the high point came during World War I, when photographers in France, Great Britain, Germany, Austria, and Hungary produced a profusion of postcards showing soldiers on one plane and lovers, wives, children, families, or parents on another. Many of the early examples of fine-art photomontage consist of photographed elements superimposed on watercolours, a combination returned to by (e.g.) George Grosz in about 1915. He was part of the Dada movement in Berlin which was instrumental in making montage into a modern art-form. They first coined the term \"photomontage\" at the end of the war, around 1918 or 1919. The other major exponents were John Heartfield, Hannah Höch, Kurt Schwitters, Raoul Hausmann and Johannes Baader. Individual photos combined together to create a new subject or visual image proved to be a powerful tool for the Dadists protesting World War I and the interests that they believed inspired the war. Photomontage survived Dada and was a technique inherited and used by European Surrealists such as Salvador Dalí. The world\'s first retrospective show of photomontage was held in Germany in 1931. A later term coined in Europe was \"photocollage\"; which usually referred to large and ambitious works that added typography and brushwork or even actual objects stuck to the photomontage. Parallel to the Germans, Russian Constructivist artists such as El Lissitzky, Aleksandr Rodchenko and the husband-and-wife team of Gustav Klutsis and Valentina Kulagina created pioneering photomontage work as propaganda, such as the journal USSR in Construction, for the Soviet government. In the education sphere, media arts director Rene Acevedo and Adrian Brannan have left their mark on art classrooms the world over. Following his exile to Mexico in the late 1930s, Spanish Civil War activist and montage artist Joseph Renau compiled his acclaimed Fata Morgana USA: the American Way of Life, a book of photomontaged images highly critical of Americana and North American \"consumer culture\". His contemporary, Lola Alvarez Bravo experimented with photomontages on life and social issues in Mexican cities. In Argentina during the late 1940s, the German exile Grete Stern began to contribute photomontaged work on the theme of Sueños (Dreams), as part of a regular psychoanalytical article in Idilio magazine. The pioneering techniques of the early photomontage artists were co-opted by the advertising industry from the late 1920s onwards. Techniques Other methods for combining pictures are also called photomontage, such as Victorian \"combination printing\", the printing of more than one negative on a single piece of printing paper (e.g. O. G. Rejlander, 1857), front-projection and computer montage techniques. Much like a collage is composed of multiple facets, artists also combine montage techniques. Romare Bearden\'s (1912–1988) series of black and white \"photomontage projections\" is an example. His method began with compositions of paper, paint, and photographs put on boards 8½ × 11 inches. Bearden fixed the imagery with an emulsion that he then applied with handroller. Subsequently, he enlarged the collages photographically. The 19th century tradition of physically joining multiple images into a composite and photographing the results prevailed in press photography and offset lithography until the widespread use of digital image editing. Contemporary photo editors in magazines now create \"paste-ups” digitally. Creating a photomontage has, for the most part, become easier with the advent of computer software such as Adobe Photoshop, Paint Shop Pro, Corel Photopaint, Pixelmator, Paint.NET or GIMP. These programs make the changes digitally, allowing for faster workflow and more precise results. They also mitigate mistakes by allowing the artist to \"undo\" errors. Yet some artists are pushing the boundaries of digital image editing to create extremely time-intensive compositions that rival the demands of the traditional arts. The current trend is to create pictures that combine painting, theatre, illustration and graphics in a seamless photographic whole. The ethics of photomontage A photomontage may contain elements at once real and imaginary. Two-dimensional representation of physical space in a picture is, by definition, an illusion. Such combined photos and digital manipulation can set up a collision between aesthetics and ethics - for instance, in faked news photographs that are presented to the world as real. In the United States, for example, the National Press Photographers Association (NPPA) have set out a Code of Ethics promoting the accuracy of published images, advising that photographers \"do not manipulate images [...] that can mislead viewers or misrepresent subjects.\"See also: Photojournalism Scrapbooking photo-collage Photomontage can also be present in the scrapbooking phenomenon, in which family images are pasted into scrapbooks and collaged along with paper ephemera and decorative items. Digital art scrapbooking employs a computer to create simple collaged designs and captions. The amateur scrapbooker can turn home projects into professional output, such as CDs, DVDs, display on TV, or uploaded to a website for viewing or assembly into one or more books for sharing. See also: Scrapbooking Photo manipulation Main article: Photo manipulation Photo manipulation refers to alterations made to a previously unchanged image. Often, the goal of photo manipulation is to create another realistic image. This has led to numerous political and ethical concerns, particularly in journalism. 1076