One-artist Exhibition “The Homeland of the Pomegranate”, Open
Tefen
1999

“Shmuel Bonneh’s art draws its power from his profound affinity to the landscape of this country and to the cultural heritage of the Jewish people, especially the Bible. His paintings are suffused with a love for the Israeli landscape. In the “Eretz Map” series of works, from the eighties on, the motif of the map of the land – recurs, and reinforcing by the connection between the known – the country’s paths and the Bible stories – and imagination- the combination among the various elements, and the hope – “Let there be peace upon this place and upon all your people Israel” (as is inscribed in his painting let There Be Peace). […] The uniqueness of the “Eretz Map” series resides in its creation of affinity between man and place. […] Bonneh’s personal expression is based on an abstract language of line, form, color area, and on biblical story. ]…[ The art of the early days of the state identified with the idea of the establishment of the State of Israel, and the state was a part of the new and self – renewing Israeli culture. This found expression in the connection with the local landscape and the events that transpired, beside an affinity with international modern art. Bonneh has remained faithful to this world - view, and despite the changes that have occurred in his art over the years, his individual style is very clear and consistent”.

 

Ruthi Ofek, Curator of the Exhibition, in the catalogue, 1999

 

 

 

“Among the paintings exhibited at Tefen is a group of figurative works depicting biblical scenes, and another group of Israeli landscapes that have, over the years, tended towards abstraction and geometric forms. … Bonneh is motivated by the same romantic-modernist urge for unmediated expression, the ‘primitive’ and the ‘authentic’. Since the 1990s his landscapes have presented a different approach. Compositions rich in symbolic elements replace the ‘clean’ geometric areas, and bold lines divide land from sea, heaven from earth, interior from exterior.”

 

Nava Astrakhan “Studio” August 1999

 

 

“Amid the rural landscapes in Bonneh’s paintings, cattle pace as if they were being led to sacrifice in the temple, and his images resemble epic giants breaking out of the ancient earth into the new Israeli presence. From these derive the monumental character and powerful, expressive colour of Bonneh.”

 

Professor Avidov Lipsker “Zafon” 2000

 


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