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FREE COMPOSITIONS |
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Batia Lichansky's absolute identification with the object created - whether portrait heads of bodies in motion, or their allegorical representation- and the wonderful say she handles the material scrupulously, expresses not only the images themselves but also represents their social-human environment. The position they occupy is beyond the historical. For that reason, they will stand the test of time. |
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The Dreamer, 1942 stone,bronze
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Following the New York exhibition, a Yiddish newspaper published a review which Batia has preserved and always carries in her purse. This is what was written: "In an exhibition at Yad VaShem, commemmorating those hallowed souls, I saw a composition made of wood sculpted by Batia Lichansky. It shows a Jew saving the Torah scrolls from destruction. Truly this is an exceedingly great work - monumental - and it goes straight to the heart. With all his might and main the Jew clasps the Torah to his heart as though it were his beloved. No, mightier still - as if he held the whole living universe in his embrace. Up to now I have never discovered a work of art that had the power to convey the emotional strength and pertinacity of the Jew who clasps the whole world - the Sefer Torah - to his bosom; to that persecuted, despised, and accursed body on which all the nations have rained their blows." |
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Agony, 1929 in wood and bronze 35 X 9 X 11 cm.
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The Dreamers, 1950 plaster, bronz 31 X 18 X 18 cm.
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