Berlin : Rimon, 1922-1924. Item #39010
1st Edition. Original illustrated publisher's orange boards with all original illustrated wrappers bound in. 4to. 52, 48, 52, 52, 44, 40 pages; 32 cm. In Hebrew; No. 1 has added table of contents in German; Nos. 2-6 have added tables of contents in English. A complete run.
Rimon (also issued in Hebrew as Milgroim] was “founded by Mark Wischnitzer and Rachel Wischnitzer. Co-editors of the first issue were David Bergelson and Der Nister. Franzisca Baruch and Ernst Böhm designed magazine covers for both editions. Six issues were published, after which the publication was discontinued. The table of contents of the magazine was in Hebrew and in English, each article had a short summary in English. The advertisements for books were written in Russian or Hebrew.
The topics presented were taken from European art history and contemporary art, so there were essays on Leonardo da Vinci, Paul Cézanne and Max Liebermann as well as on Islamic art. Philosophical contributions dealt with Laozi, the Buddha, Hippolyte Taine, Hasidic Judaism, and Oswald Spengler. Translated to Hebrew was Der tote Gabriel by Arthur Schnitzler, excerpts from Arno Holz's Phantasus and Hugo von Hofmannsthal's Ballad of Outer Lifeprinted….
The magazine had no direction, it was a broad forum for different currents, so it had no programmatic appeal in the first issue. In the first edition of Rimon, Dovid Hofshteyn, who had also emigrated from the Soviet Union, described his feeling of disorientation with the ‘Lied meiner Indifferenz’, which was printed in the same edition with the expressionist text ‘The Complete Awakening’ (German: Der vollzogene Aufbruch). In the dispute about the direction of the magazine, der Nister and Bergelson withdrew after the first issue, while Rachel Wischnitzer propagated an art based on religion in the fourth issue.
Covers of the first and third issues featured El Lissitzky's paintings that he had copied from the murals of Cold Synagogue in Mogilev. Third issue also contained his article about that synagogue and a painting by Issachar Ber Ryback, with whom he together traveled to the shtetls in 1914. The article also contained a number of paintings from the synagogue. Lissitzky wrote enthusiastically and emotionally describing elements of wall paintings” (Wikipedia).
Each issue of Rimon includes a color-illustrated cover and Color frontis as well as other color and black and white illustrations, with much of each issue printed on heavy glossy (clayed) paper. Essays cover various aspects of Jewish art, religion, philosophy, and literature. Issued bi-monthly, Rimon was the first periodical devoted to the study of Jewish art. Rimon No 1 includes "Judea and the Jews." by Theodor Mommsen. Rimon No. 3 includes reproductions of the wall paintings in the synagogue of Mohilev based on sketches by El Lissitzky. Rimon No. 4 includes an essay by Hermann Struck on engraving.
“Mark Wischnitzer (1882-1955) was a scholar of Jewish history… He studied at the University of Vienna and University of Berlin, from which he received his doctorate in 1906. Wischnitzer served as editor of the history section of the Russian-language Jewish Encyclopedia from 1908 to 1913, and later as the editor of the Encyclopaedia Judaica published in Berlin. ” (Wikipedia, 2017) “The driving force behind Rimon was a small circle of Russian Jews, headed by historian Mark Wischnitzer and his wife, art historian Rachel Bernstein-Wischnitzer. In late 1921, the couple joined a group of Russian-Jewish émigrés in Berlin. They presented the idea of publishing a Jewish art journal to their friend Leopold Sew, a Russian-Jewish intellectual who was visiting Berlin from Paris, where he had fled after the revolution. Sew was excited by the idea and referred the couple to Eliahu Feinson, who belonged to a group of Jewish-Russian capitalists who supported Hebrew publication projects. Feinson enlisted with fervor in the publication of Jewish art books, and provided the necessary funding for commencing the work. His name appeared on almost all publications of the company as one of its three directors, alongside Dr. Mark Wischnitzer and Alexander Kogan, two of the great Russian publishers who had come to Berlin during this period, and were involved in the production of one of the most esteemed journals to be published in both Russian and German. ” (NLI, 2017)
For more on Rimon and Milgroim, see: Delphine Bechtel: “Milgroym, a Yiddish magazine of arts and letters, is founded in Berlin by Mark Wischnitzer,” in: Sander L. Gilman, Jack Zipes (Hrsg.): Yale companion to Jewish writing and thought in German culture 1096 - 1996. New Haven : Yale Univ. Press, 1997, pages 420–426
Naomi Brenner: “Milgroym, Rimon and Interwar Jewish Bilingualism.” In: Journal of Jewish Identities, January 2014, pages 23–48
Naomi Feuchtwanger-Sarig: "’Rimon-Milgroim’ : historical evaluation of a cultural phenomenon.” In: Österreichische Zeitschrift für Volkskunde, ISSN 0029-9669, Bd. 113 (2010), Heft 3/4 Ist das jüdisch?, pages 569–595
Susanne Marten-Finnis, Heather Valencia: “Sprachinseln : jiddische Publizistik in London, Wilna und Berlin 1880 - 1930.” Köln : Böhlau, 1999, pages. 121–129
Anne-Christin Sass: “Vom Mizrekh-Yid zur Jüdischen Welt. Die Publikationsorgane des "Verbands der Ostjuden" als Dokumente ostjüdischen Selbstverständnisses im Berlin der Weimarer Republik,” in: Eleonore Lappin, Michael Nage (Hrsg.): Deutsch-jüdische Presse und jüdische Geschichte. Bremen 2008, pages 273–290.
Susanne Marten-Finnis, Igor Dukhan: “Dream and Experiment. Time and Style in 1920s Berlin Émigré Magazines: Zhar-Ptitsa and Milgroym.” East European Jewish Affairs 35, no. 2 (2005).
SUBJECT(S) : Jews -- Periodicals. Jewish arts -- Periodicals. Hinges starting, lower outer corner margins with some old damp stains, egewear to boards, good condition. Complete. (ART-15-1).