Ephraim Moses Lilien was a notable figure in the Art Nouveau movement who modernized traditional Jewish themes. As a strong advocate for the Zionist cause, he utilized his artistic talents to enhance Jewish cultural rejuvenation and advocate for political freedom in Europe.
Ephraim Moses Lilien, Self-Portrait, reproduction from Stefan Zweig, E.M. Lilien, Sein Werk, 1903, George Washington University Libraries, Washington, DC, USA. Wikimedia Commons (public domain).
Jugendstil
Ephraim Moses Lilien was born on May 23, 1874, in Drohobych, which was then a part of the Austro-Hungarian Empire and is now in modern Ukraine. He began his artistic training with an apprenticeship to a sign maker. From 1889 to 1893, he attended the Academy of Fine Arts in Kraków, led by the renowned painter Jan Matejko. In 1899, he relocated to Berlin and became a member of the artists’ collective Die Kommenden.
Ephraim Moses Lilien, illustration from Morris Rosenfeld, Lieder des Ghetto, 1902. Dynasty Auctions.
Lilien mainly worked in etching and illustration. He became a key contributor to Jugend, the magazine that inspired the Jugendstil movement, the German variant of Art Nouveau. He stood out as the foremost Jewish artist closely associated with Jugendstil. In addition to his contributions to Jugend, he created numerous illustrations for books, often focusing on Jewish themes. The image above is part of a collection he created for Lieder des Ghetto (Songs of the Ghetto) written by Morris Rosenfeld.
Ephraim Moses Lilien, photograph of Theodor Herzl during the Fifth Zionist Congress, 1901, Basel, Switzerland. Wikimedia Commons (public domain).
Zionism
Besides his artistic endeavors, Lilien was an early advocate for the Zionist movement. He is well-known for capturing a significant photograph of Theodor Herzl during the Fifth Zionist Congress in Basel. Throughout his life, he made several trips to Ottoman Palestine. Notably, in 1906, he journeyed with Lithuanian artist Boris Schatz to help establish the Bezalel Academy of Arts and Design in Jerusalem. He even designed the academy’s emblem.
Ephraim Moses Lilien, illustration from Edward Reuss, Die Bücher der Bibel, Vol. 1. Creators: Bible, Old Testament, 1908, Leo Baeck Institute, New York City, NY, USA. Institute’s website.
Herzl also acted as a sort of muse for Lilien. To him, Herzl symbolized the embodiment of a strong, modern Jewish figure. This transformation was a direct challenge to the antisemitic stereotypes prevalent in Europe at that time. In his portrayals, Lilien depicted Herzl as a powerful figure, reminiscent of Moses, featuring strong, defined features. His skillful reinterpretation of traditional Jewish motifs into modern styles set him apart.
Ephraim Moses Lilien, illustration The Silent Song from Moses Samuel Levussove, The New Art of An Ancient people: the Work of E. M. Lilien, 1905, Leo Baeck Institute, New York City, NY, USA. Institute’s website.
Sexuality
Beyond showcasing Herzl in a robust light, Lilien delved into themes surrounding sexuality in his works. He portrayed women as equals, empowered and in control of their sexuality, rather than as mere subjects of the male gaze. He believed that the liberation brought forth by early Zionism should coincide with sexual freedom. For instance, in the illustration The Silent Song, he presents a woman who confidently asserts her own sexuality. Unfortunately, Lilien’s life was cut short when he suffered a heart attack on July 18, 1925, at the age of 51.
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