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Beni Gassenbauer Marek Yanai
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Jerusalem double perspective
BENI GASSENBAUER
MAREK YANAI
Article: Oren MigdalArticle: David IvgiTranslation: Janice ShapiroDesign and Production: Maya Wine
Matsart, Jerusalem- Tel AvivMay 2013Copyright Beni Gassenbauer, Marek Yanai 2013
Cover: Detail from "Beni Gassenbauer, Lifta, Watercolor, 76 x 57 cm"Detail from "Marek Yanai, View from Abu Tor on a Chamsin Day, Watercolor, 103 x 67 cm"
Jerusalem double perspective
BENI GASSENBAUERMAREK YANAI
Frishman 15 63578 Tel Aviv Tel. 972-3-6810001
Notes for an exhibition
Oren Migdal- Curator
These thoughts arise from a conversation which took place in the studio of Marek Yanai in the artistโs workshops in Talpiot, a characteristic Jerusalem site. In our talk we chose to study the link between the Jerusalem artists- Marek Yanai and Beni Gassenbauer and their connection to Yosef Hirsh. Hirsh, an artist and lecturer who is associated to the Jerusalem expressionist school, lived and taught in the city, yet it is difficult to link him to the city. He did not paint its landscapes nor its people. Rather he was deeply rooted in the European pictorial tradition. He depicted portraits and still lifes, while relying on the writings of Goethe and Heinrich Boll in search of a deeper meaning behind the painted object. To his numerous students in Jerusalem he was a valued teacher with a unique teaching method. A lecturer who loved to teach in unconventional methods, he opened before his students new paths for personal expression. He was an inspiring teacher not strict but poignant in expressing his thoughts and his artistic ideas.Beni and Marek, as Hirshโs followers, learned from this master of drawing to search for a meaning be-hind the painted object through a process of fragmentation and rearrangement of its parts (the poetry of vision). Each artist perceives this in a different way. Beni- in his tree paintings focuses on tree โjointsโ as giving life to the Jerusalem Pine-tree and its pine forests, and in the โintersectionsโ of Jerusalem alleys as the โarteriesโ of the people living in the city. Marek focuses our attention in seemingly fragmented objects which would appear to the viewer as a trompe lโoeilโ- water tanks, electricity boxes or even a cat. But unlike those in Hirshโs paintings these lack a symbolical meaning, but just try to catch our gaze and create a focal point from which the painting should be โreadโ.In terms of color, Hirsh preferred the use of single color modulation to rich coloring. His reductive ap-proach to color was not accepted by his two pupils. Marek connects the viewer to โrealityโ through the use of large transparent patches of color which build areas but do not give the objects a true concrete-ness. The patches or facets forming the object have an inner rhythm, which one can find also in Hirshโs works. But in Marekโs watercolors this is more refined and introvert so as not to defy the viewerโs sight. Unlike Hirsh he does not continue to fragmentize the objectโs color but uses the colored fragments to build new patches, areas and subjects- a hill or the face of a man. Beni is estranged to Hirshโs abstract fragmentation of color. The sheet of paper is full, the colors strong and vivid. But like Hirsh he searches for the right shade of color to signal the object- blue door, green gate or red geranium plant- behind which opens a new โworldโ- a Jerusalem courtyard, an unknown alley or a rich Templar House.Hirsh did not depict landscapes; rather he imagined them and recreated them each time anew in words as if he were an author or a composer. In Beniโs and Marekโs works the landscape seem to be at a standstill- they lack people or animals and the clouds are a rarity. Everything is organized meticulously as in a โclassicalโ composition. The slow inner movement of the hills, the falling stone walls and the oblique trees, create a peaceful atmosphere. A lyrical poem, their work would seem to betray some-thing quintessential in the Jerusalem spirit- a search for something intimate and humane. In the words of the poet โman has to acknowledge his true proportion and perceive time without it taking control of himโ (Aristotle).Matsart Auctioneers is proud to host Marek Yanai and Beni Gassenbauer in its Tel-Aviv gallery for a joint exhibition which will shed light on their art and on their Jerusalem.
Marek YanaiGerman Colony, Oil on canvas, 130 x 89 cm
ืืืจืง ืื ืืืฉืขืจ ืืืืฉืื ืืืจืื ืืช, ืฉืื ืขื ืื, x 89 130 ืก"ื
Invitation to Gaze
David Ivgi
An invitation to gaze at watercolors is an invitation to wander. The eye wanders back and forth from one area to another, from the whiteness of the paper to the spot of paint, and within the spots - in and out of the shallow depth of the skins of paint. Each touch of the brush, each touch on touch, sketches not only the depiction of the house, mountain or object, but also the way that the brush has moved. When itโs a double invitation, an exhibition by two, things are even more sharpened. The wandering widens and the eye formulates one experience also according to its experience of the other.When the two are Marek Yanai and Beni Gassenbauer, good friends, once teacher and pupil, even more so. The same city, the same landscapes, and almost the same angle of view, allow us to give ourselves over to looking at one and the other and to distinguish each oneโs special way of working. While Beni leads us with confidence, Marek makes only suggestions. With one, the whiteness of the paper bears witness to a spot of light; with the other it opens gaps of wandering between the spots.Beni Gassenbauer, an ex-dentist, doesnโt lay down the tool of his precise craft. With maximum atten-tion he gives us the pleasure of being in the presence of beauty. The views he has discovered are pre-sented to our eyes as an artistโs gift. Here is the open gate of house number 6, we can go to the end of the path and back. The anemones expect us to take hold of them and lift them to our nostrils. The distant landscapes are also within the reach of hand and eye. The ability to touch doesnโt disappear, all the way through the width, depth and surface of the picture.With Marek, those same houses planted on the slope become a vision only. Dark areas are interpreted by us as shadows and thereby define the adjacent spot as nothing less than the wall of the house. The weave of shadows, near and far, creates a layout of brushstrokes dependent on one another. Only our act of connection bestows on them their whole form. So it is in the wrinkles of the figure and in the folds of the hills. The awareness of the two artists of the act of painting is also shown with two faces. Beniโs pictures proclaim the victory of the eye. Nothing is missing. Every detail is caught in all its quali-ties, and every texture, light and weave is reconstructed with success. The row of palm trees, the array of almond trees or the group of pines await us there, at the place where the painter experienced them. This willing dedication to the view of nature contains within itself the belief that beauty is embodied in the objects themselves. That our world contains views that are worth experiencing, that the artist through his powers of sight and his painting, is capable of bestowing them as a gift.With Marek, a sense of โartistic freedomโ creeps in. The touches of water flutter and are busy with the internal dialogue amongst themselves. The painter leads and expresses and mainly organizes. The doors of the entrance hall do not reveal a view of the courtyard to whoever is descending the steps. The white area of the outside and its direct continuation in the wide streak of light on the floor creates a โpillarโ that separates and mainly leaves us in the narrow space of the stairwell, demanding of us to occupy ourselves with the system of coordination of the vertical and horizontal lines and the diagonal of the banister.The oil painting emphasizes the power and the authority of the artist to organize even more clearly. The window frame on the right, the bowl of fruit, the apple, the candlestick and the book, are all pre-cisely laid out in the points of opening of the woven pattern beneath them. The window bars too lose their iron actuality and here become a painterโs grid. A yardstick to measure the objects around it. No sky, treetop or cloud will appear beyond it and disturb its geometric cleanness. Did we say two artists? Or maybe two faces of the act of painting, and mainly two of experiencing reality and through them โcatchingโ beauty .
Marek YanaiView from Yemin MosheOil on Canvas, 102 x 83 cm
ืืืจืง ืื ืืืืื ืืืืื ืืฉื
ืฉืื ืขื ืื, x 83 102 ืก"ื
Marek YanaiOld Entrance, Abu Tor, Watercolor, 57 x 76 cm
ืืืจืง ืื ืืืื ืืกื, ืืื ืชืืจ, ืฆืืข ืืื, x 76 57 ืก"ื
Beni GassenbauerDereh Bet Lehem window, Watercolor, 57 x 76 cm
ืื ื ืืกื ืืืืจืืจื ืืืช ืืื ืืืื, ืฆืืข ืืื, x 76 57 ืก"ื
Beni GassenbauerShimshon Street, Watercolor, 76 x 57 cm
ืื ื ืืกื ืืืืจืจืืื ืฉืืฉืื, ืฆืืข ืืื, x 57 76 ืก"ื
Marek YanaiFlowers, Watercolor, 38 x 29 cm
ืืืจืง ืื ืืืคืจืืื, ืฆืืข ืืื, x 29 38 ืก"ื
Marek YanaiValley of the Cross from Rav Berlin st, Watercolor, 76 x 57cm
ืืืจืง ืื ืืืขืืง ืืืฆืืื, ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerView from Nabi Samuel, Watercolor, 103 x 67 cm
ืื ื ืืกื ืืืืจืืื ืื ืื ืฉืืืื, ืฆืืข ืืื, x 67 103 ืก"ื
Marek YanaiView from Abu Tor on a Chamsin Day, Watercolor, 103 x 67 cm
ืืืจืง ืื ืืืืจืื ืืขืืจ ืืขืชืืงื ืืืื ืชืืจ, ืืืื ืืืกืื, ืฆืืข ืืื, x 67 103 ืก"ื
Marek YanaiEast Talpiot on the Horizon, View from Jabel MucabirWatercolor, 76 x 57cm
ืืืจืง ืื ืืืชืืคืืืช ืขื ืืจืืก, ืืจืื ืืืืื ืืืืืจ
ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerHurshat Hayareaโh, Watercolor, 103 x 67 cm
ืื ื ืืกื ืืืืจืืืจืฉืช ืืืจื, ืฆืืข ืืื, x 67 103 ืก"ื
Marek YanaiLifta, Watercolor,76 x 57 cm
ืืืจืง ืื ืืืืืคืชื, ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerEthiopia Street, Watercolor, 57 x 76 cm
ืื ื ืืกื ืืืืจืจืืื ืืชืืืคืื, ืฆืืข ืืื, x 76 57 ืก"ื
Beni GassenbauerEthiopia Street 6, Watercolor, 57 x 76 cm
ืื ื ืืกื ืืืืจืจืืื ืืชืืืคืื 6, ืฆืืข ืืื, x 76 57 ืก"ื
Beni GassenbauerLifta, Watercolor, 76 x 57 cm
ืื ื ืืกื ืืืืจืืืคืชื, ืฆืืข ืืื, x 57 76 ืก"ื
Marek Yanai View from Abu Tor, Southway, Watercolor, 76 x 57 cm
ืืืจืง ืื ืืืืื ืืจืืื ืืืื ืชืืจ, ืฆืืข ืืื, x 57 76 ืก"ื
Marek YanaiHirsch, Watercolor, 76 x 57 cm
ืืืจืง ืื ืืืืืจืฉ, ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerOlive Tree, Watercolor, 76 x 57 cm
ืื ื ืืกื ืืืืจืขืฅ ืืืช, ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerMahane Yehuda market, Watercolor, 103 x 67 cm
ืื ื ืืกื ืืืืจืฉืืง ืืื ื ืืืืื, ืฆืืข ืืื, x 67 103 ืก"ื
Marek YanaiGrandma, Machane Yehuda, Watercolor, 76 x 57 cm
ืืืจืง ืื ืืืกืืชื, ืืื ื ืืืืื, ืฆืืข ืืื, x 57 76 ืก"ื
Marek Yanai Still life on a Window sill, Ethiopia st. Oil on canvas, 88 x 85 cm
ืืืจืง ืื ืืืืืื ืขื ืืืื ืืจืืื ืืืืฉืื
ืฉืื ืขื ืื, x 85 88 ืก"ื
ืืืื ื ืืืืืืื ืืืืื
ืืืื ื ืืืื ืืฆืืืจื ืืื ืืื ืืืื ื ืืฉืืืืืช. ืืืื ืืฉืื ื ืืืืช ืืขืื ืืืืืจ ืืืืืจ, ืืืืื ืื ืืืจ ืื ืืืชื ืืืชืื ืืืชืืื-ืคื ืืื ืืืืฅ ืืขืืืง ืืจืืื ืฉื ืงืืืคืืช ืืฆืืข. ืื ื ืืืขืช ืืืืื ืืื ื ืืืขื ืขื ื ืืืขื ืืฉืจืืืื ืื ืจืง ืืช ืืชืืจื ืฉื ืืืืช,
ืืืจ ืื ืืืคืฅ, ืืื ืื ืืช ืืืืื ืฉื ืืืืืื. ืืกืขื ืฉื ืืขืื ืืืคื ืืืขืฉื ืฉื ืฉืืืืืจ ืคืขืืืช ืืฆืืืจ ืขืฆืื. ืืืฉืจ ืืืืื ื ืืืืืช, ืืชืขืจืืื ืฉื ืฉื ืืื, ืืชืืืืื ืืืืจืื ืขืื ืืืชืจ. ืืฉืืืืืช ืืชืจืืืช ืืืขืื ืื ืกืืช ืืช ืืืืืืช ืืืื
ืื ืขื ืคื ื ืืกืืื ื ืื ืืืืจ. ืืืฉืจ ืืฉื ืืื ืื ืืืจืง ืื ืื ืืื ื ืืกื ืืืืจ, ืืืจืื ืงืจืืืื ืืคืขื ืืืจื ืืชืืืื, ืขื ืืืช ืืื ืืืื. ืืืชื ืืขืืจ, ืืืชื
ืื ืืคืื, ืืืืขื ืืืชื ืืืืืช ืืื ืืืคืฉืจืื ืื ื ืืืชืืกืจ, ืคืขื ืืื ืืคืขื ืืื ืืืืืืื ืืืจืื ืืืืืืืช ืฉื ืื ืืื. ืืืงืื ืฉืื ื ืืืืื ืืืชื ื ืืืืืื, ืืืจืง ืืกืื ืืฆืขืืช ืืืื. ืืืื ืื ืืืจ ืืืขืื ืขื ื ืงืืืช ืืืจ ืืฆื ืืืื, ืคืืขืจ ืืจืืืืื
ืฉื ืฉืืื ืืื ืืืชืืื ืืฆื ืืืืจ. ืื ื ืืกื ืืืืจ, ืจืืคื ืฉืื ืืื ืืฉืขืืจ, ืื ืื ืื ืืช ืืื ืืืืืชื ืืืืืงื ืืช. ืืชืฉืืืช ืื ืืจืืื ืืื ืืขื ืืง ืื ื ืืช ืืขืื ื ืฉืื ืืื ืืืืคื. ืืืจืืืช ืฉืืืื ืืืืฉืื ืืขืื ืื ื ืืืชื ืช ืืื. ืื ื ืืฉืขืจ ืืคืชืื ืืืืช ืืกโ 6, ื ืืื ืืืืช ืขื ืกืืฃ ืืฉืืื ืืืืืจื. ืืืื ืืืช ืืฆืคืืช ืฉื ืืื ืืื ืืื ืื ืืืฉ ืืืชื ืื ืืืจืื ื. ืื ืื ืืคืื ืืจืืืงืื ื ืืฆืืื ืืืืฉื ืืื ืืืขืื. ืืืืืช ืืืืฉืืฉ ืื ื ืขืืืช
ืืื ืืืจื, ืจืืื ืขืืืง ืืืฉืื ืืชืืื ื. ืืืชื ืืชืื ืื ืืืขืื ืืืืจืื, ืืืคืืื ืืฆื ืืืจืง ืื ืื ืืืืืื ืืืื. ืืฉืืืื ืืืื ืืชืคืจืฉืื ืืฆืื ื ืืฆืืืื ืืืชืื ืื ืื ืืืืจืื ืฉืืืชื ืืฆืืื ืืื ืืื ื ืืื ืงืืจ ืืืืช. ืืืจื ืืืชืืื, ืงืจืืืื ืืจืืืงืื ืืืฆืจ ืืขืจืืช ืฉื ื ืืืขืืช ืืืืื ืืชืืืืืช ืืืช ืืืืจืชื. ืจืง ืคืขืืืช ืืืืืืจ ืฉืื ื ืืขื ืืงื ืืื ืืช ืฆืืจืชื ืืฉืืื. ืื ืืงืืื ืืคื ืื ืฉืืืืืช ืื ืืืื ืฉื ืืืืขืืช.
ืืืืืขืืช ืฉื ืฉื ื ืืืื ืื ืืคืขืืืช ืืฆืืืจ ืืชืืื ืืฃ ืืื ืืฉืชื ืคื ืื.ืชืืื ืืชืื ืฉื ืื ื ืืืจืืืืช ืขื ื ืืฆืืื ืืขืื. ืืืจ ืื ื ืขืื ืืื ื. ืื ืคืจื ื ืงืื ืขื ืชืืื ืืชืื ืืื ืืืจืงื, ืืืจ ืืืืจื, ืืฉืืืืจ ืืืฆืืื. ืฉืืจืช ืขืฆื ืืืงื, ืืขืจื ืืฉืงืืืืช ืื ืงืืืฆืช ืืืืจื ืื ืืฆืคืื ืื ื ืฉื, ืืืงืื ืื ื ืืื ืขโื ืืฆืืืจ. ืืชืืกืจืืช ืื ืืจืฆืื ืื ืืจืื ืืืืข ืืืืื ืืชืืื ืืช ืืืืื ื ืฉืืืืคื ืืืื ืืืืืืืงืืื ืขืฆืื. ืฉืขืืืื ื ืืืื ืืจืืืช ืฉืจืืื ืืืืืชื, ืืฉืืืื
ืืืืื ืืจืืื ืืืืืฆืจ, ืืกืืื ืืืขื ืืงื ืืืชื ื. ืืืื ืฉื ืืืจืง, ืืกืชื ื ืช ืชืืืฉื ืฉื โืืืคืฉ ืกืคืจืืชืโ. ื ืืืขืืช ืืืื ืืจืคืจืคืืช ืืขืกืืงืืช ืืฉืื ืืคื ืืื ืฉืืื ืืื. ืืฆืืืจ ืืืืื ืืืืื ืืืขืืงืจ ืืืจืื. ืืืชืืช ืืืจ ืืื ืืกื ืืื ื ืืืืืช ืืืืจื ืืืืจืืืช ืืช ืืจืื ืืืฆืจ. ืืืฉืื ืืืื ืฉื ืืืืฅ ืืืืฉืื ืืืฉืืจ ืืคืก ืืืืจ ืืจืื ืขื ืืจืฆืคื ืืืฆืจ โืขืืืโ ืืืฉืื, ืืคืจืื ืืืขืืงืจ,ืืฉืืืจ ืืืชื ื ืืืื ืืฆืจ ืฉื ืืืจ ืืืืจืืืช, ืืืจืฉ
ืืืืชื ื ืืขืกืืง ืืืขืจืืช ืืชืืืืืื ืฉื ืืงืืืื ืืื ืืืื, ืืืืคืงืืื ืืืืืกืื ืืืขืงื. ืฆืืืจ ืืฉืื ืืืืืฉ ืืช ืืืื ืืจืฉืืชื ืฉื ืืืื ืืืืจืื ืขืื ืืืชืจ ืืืืจืืช. ืืกืืจืช ืืืืื ืืืืื, ืงืขืจืช ืืคืจืืช, ืืชืคืื, ืืคืืื ืืืกืคืจ, ืืืื ืืื ืืื ืืงืคืืื ืื ืงืืืืช ืคืชืืื ืฉื ืืื ืืืจืื ืฉืืชืืชื. ืื ืกืืจื ืืืืื ืืืื ืืช ืืืฉืืชื ืืืจืืืืช ืืืืคื ืืื ืืืจืื ืฉื ืฆืืืจืื. ืืืช ืืืื ืืืคืฆืื ืกืืืื. ืฉืื ืฉืืืื, ืฆืืจืช ืขืฅ ืื ืขื ื ืื ืืืคืืขื ืืขืืจ ืื ืืื ืืคืจืืขื ืืช ืื ืืงืืื
ืืืืืืืืจื. ืฉื ื ืืื ืื ืืืจื ื ืืื? ืื ืฉืื, ืฉืชื ืคื ืื ืฉื ืืขืฉื ืืฆืืืจ, ืืืขืืงืจ ืฉืชื ืืจืืื ืืืืืช ืืช ืืืฆืืืืช ืืืงืืื ืืจืื ืืช ืืืืคื.
Beni GassenbauerHillel Street, Watercolor, 57 x 76 cm
ืื ื ืืกื ืืืืจืจืืื ืืืื, ืฆืืข ืืื, x 76 57 ืก"ื
ืจืฉืืื ืืงืจืืช ืชืขืจืืืืืืจื ืืืื- ืืืฆืจ
ืืฆืืจื ืืืืืจืืช ืคืืืืืืช
ืืืจืื ืืื ื ืืืื ืืขืงืืืช ืฉืืื ืืกืืืืื ืฉื ืืืจืง ืื ืื, ืืกืื ืืืช ืืืื ืื ืืืืืจ ืืชืขืฉืื ืฉื ืชืืคืืืช; ืืงืื ืืคืืฉ ืืจืืฉืืื ืืืืืง. ืืฉืืื ืืคื ื ืืกืคืจ ืืืืฉืื ืืืจื ื ืืืืืง ืืช ืืงืฉืจ ืืืืืื ืืื ืฉื ื ืืื ืื ืืจืืฉืืืื- ืืืจืง ืื ืื ืืื ื ืืกื ืืืืจ ืืืช ืืืจื ืืืืขืชื ืืืจืื ื, ืื ืืืืื ืืืจืืฉืืื ืื ืงืฉื ืืื ืฉืื ืืืืื ืืชื ืฉืืื ืขื ืืืกืฃ ืืืจืฉ. ืืืจืฉ, ืืื ืืืจืฆื ืืืฉืืื ืืฉืืืื ืืขืืจ. ืืื ืื ืชืืืจ ืืช ื ืืคืื ืื ืื ืฉืื, ืืื ืืื ื ืืืข ืืืกืืจืช ืฉื ืืฆืืืจ ืืืืจืืคื- ืืืืงื ืืืืข ืืืื, ืืืชื ืืืื ืจืื ืื- ืืืืืคืืฉ ืืืจ ืืืืืช ืืคื ืืืืช ืืืืืจื ืืืืืืงื. ืืืจืืฉืืื, ืขืืืจ ืชืืืืืื ืืจืืื ืืื ืืขืืงืจ ืืืจื ื ืขืจืฅ ืืขื ืฉืืื ืืืืืืช. ืืจืฆื ืฉืืชืื ืืืื ืืืืจืื ืืืื ืืืจืืื ืื ืงืื ืืื ืฆืืื ืืืืืช ืืคืชื ืืคื ื ืชืืืืืื ืืคืืงืื ืืืืืื ืืืฉื. ืืืจื ืืคืจื.
ืื ื ืืงืฉื ืื ื ืืงื ืืืฉืคืืื ืืืจืขืืื ืืชืื ืืืื ืืชืืื. ืื ื ืืืืจืง, ืืชืืืืืื ืฉื ืืืจืฉ ืฉืืื ืืื ืืจืืฉืื, ืืืื ืืื ื ืืืคืฉ ืืช ืืืืจื ืืืืืจื ืชืืืืจ ืืืืืืงื ืืืฆืืืจ ืชืื ืืื ืคืจืืง ืืืคืฅ ืืืืจืืื ืืืืืืื ืฉื ืืืืคืืื ืืคื ืืื ืฉืื )ืืคืืื ืฉื ืื ืจืื(. ืื ืืื ืืื ืืื ืืคื ืื ืืืช ืืฆืืจื ืฉืื ื. ืื ื- ืืฆืืืจื ืืขืฆืื ืืชืืงื 'ืืืคืจืงืื' ืฉื ืืขืฅ ืื ืืชื ืื ืืืื ืืืืจื ืืืจืืฉืืื ืืืืขืจืืช ืืขืืจ )ืืขืจ ืืชืืืืจืื ืืืืื( ืื- 'ืฆืืชืื' ืฉื ืืกืืืืืช ืืืจืืฉืืืืืช ืืช ืขืืจืงื ืืคืขืืืืช ืฉื ืืื ืฉืื ืืืืื ืื. ืืืจืง ืืชืืงื ืืืคืฆืื ืืฉื ืืื ืืืืื ืืื ืืืจื ืืืืขืืืช ืืขืื )trompe lโoeil(- ืืื ืฉืืฉ, ืืจืื ืืฉืื ืื ืืชืื. ืืืื- ืืื ืืืคืฆืื ืืื, ืืืฆื ืืืจืฉ, ืืฉืืขืืช ืกืืืืช, ืืื
ืจืฆืื ืืงืืืข ืืืงื ืืจืืจ ืืืฆืืจื ืฉืืืื ืืขืื ืฆืจืืื ืืืชืืืืก ืืืื ื ืืฆืืช.ืืืืื ืช ืืฆืืข- ืืืจืฉ ืืขืืืฃ ืืช ืืืืืื ืืฆืืข ืืืื ืขื ืขืืฉืจ ืฆืืขืื ื. ืืืืืจื ืืฆืืฆืื ืืฆืืขืื ื ืืฉืืืจ ืืืื, ืื ืืชืงืืื ืขื-ืืื ืฉื ื ืชืืืืืื. ืืืจืง ื ืืืข ืืืชืื ืฆืืข ืืืืืื ืืฉืงืืคืื ืืืืืฉื ืื ืืื ืืชืช ื ืืืืืช ืงืื ืงืจืืืช ืืื ืืคืจืืื. ืืชืืื ืื ืืงืฆืืืช ืืื ืืื ืขืื ืืืขืื ืชื ืืขื ืคื ืืืืช ืืงืืืืช ืื ืืฆื ืืืจืฉ ืจืง ืฉืืื ืืืชืจ ืขืืื ื ืืืืคื ืืช, ืื ืฉืืื ื ืืืชืืจืช ืืช ืจืืืช ืืฆืืคื. ืืื ืืื ืืขืฉื ืคืืจืืง ืืชืืฉื ืืืฆื ืืืจืฉ ืืื ืื ืื ืืชืื ืืืคืืจืง ืฉื ืืืืจื ืฆืืข, ืืงืืขืื ืื ืืฉืืื- ืืืขื ืื ืคื ืื ืฉื ืืื. ืื ื ืืืชืจ ืืจืืืง ืืืืคืฉืื ืืืคืืจืืง ืืฆืืขืื ื ืฉื ืืืจืฉ. ืื ืืืจ ืืื, ืฆืืขืื ืืืชื ืขืื, ืื ืืื ืืืจืฉ ืืื ืืืคืฉ ืืช ืืืืื ืืืืืืง ืฉื ืืฆืืข ืืืกืื- ืืืช ืืืืื, ืฉืขืจ ืืจืืง ืื ืฆืื ืืจื ืืื ืืืื- ืฉืืืืืจืืื ื ืคืชื ืขืืื - ืืฆืจ ืืจืืฉืืืืช,
ืกืืื ืฉืืืื ืื ืืืช ืืืคืืจื ืืคืืืจ. ืืืจืฉ ืื ืชืืจ ื ืืฃ ืืื ืืืืื ืืืชื ืืืจื ืืืชื ืื ืคืขื ืืืืฉ ืืืืืื ืืืขืฉื ืฉื ืกืืคืจ ืื ืืืืื. ืืฆื ืื ื ืืืืจืง ืื ืืฃ ื ืจืื ืืขืืื ืืืืช. ืื ืืคืื ื ืืืื ืื ืฉืื ืื ืืืืช, ืืขื ื ืื ื ืืืจืื. ืืื ืืืืจืื ืืืฉืขื ืืืงืืืืืืฆืื 'ืงืืืกืืช'. ืืชื ืืขื ืืคื ืืืืช ืืืจืืืขื ืฉื ืืืืขืืช, ืืืืืืช ืืืื ืฉื ืืืืช ืืืคืื ืืืขืฆืื ืืื ืืฉืจืื ืืืฆืจืื ืงืืืคืืืืฆืืืช ืฉืงืืืช ืืืคืืืกืืช ืขื ืื ืืฃ ืืขื ืืขืฉืืื. ืืขืฉื ืคืืื ืืืจื. ืขืืืืชื ืืกืืืจื ืขืฉืืื ืืจืืฉืืืืช- ืืืคืืฉ ืืืจ ืืืืืื ืืืื ืืืื ืืืืืืื ื. ืืคื ืืืจื ืืืฉืืจืจ 'ืขื
ืืืื ืืืขืช ืืื ืืืืื ืื ืืื ื ืืืืืืจ ืืื ืืืื ืืืื ืืชืช ืื ืื ืื ืืืชื' )ืืจืืกืื(.ืืืช ืืืืืจืืช ืืฆืืจื ืฉืื ืืืจื ืืช ืืืจืง ืื ืื ืืื ื ืืกื ืืืืจ ืืืฉืื ื ืืชื-ืืืื ืืชืขืจืืื ืืฉืืชืคืช ืฉืชืืืจ ืืคื ืืืืื ืืชื
ืืขืฉืืจื ืืืืจืืฉืืื ืฉืืื.
Marek YanaiBeni, Watercolor,76 x 57 cm
ืืืจืง ืื ืืืื ื, ืฆืืข ืืื, x 57 76 ืก"ื
Beni GassenbauerMarek, Watercolor, 57 x 38 cm
ืื ื ืืกื ืืืืจืืืจืง, ืฆืืข ืืื, x 38 57 ืก"ื
Beni GassenbauerOlive grove, Watercolor, 76 x 57 cm
ืื ื ืืกื ืืืืจืืืข ืืืชืื, ืฆืืข ืืื, x 57 76 ืก"ื
ืืืืจ: ืืืจื ืืืืืืืืจ: ืืื ืืืืื
ืชืจืืื: ืโื ืืก ืฉืคืืจืืขืืฆืื ืืืคืงื: ืืื ืืืื
ืืฆืืจื, ืืจืืฉืืื - ืชื ืืืืืืื 2013
ืืืจืง ืื ืื, ืื ื ืืกื ืืืืจ, 2013, ืื ืืืืืืืช ืฉืืืจืืช
ืขืืืคื: ืคืจื ื "ืื ื ืืกื ืืืืจ, ืืืคืชื, ืฆืืข ืืื, x 57 76 ืก"ื"ืคืจื ื "ืืืจืง ืื ืื, ืืจืื ืืขืืจ ืืขืชืืงื ืืืื ืชืืจ, ืืืื ืืืกืื, ืฆืืข ืืื x 67 103 ืก"ื"
ืืจืืฉืืื ืืื ืืคืืืื ื ืืกื ืืืืจ
ืืืจืง ืื ืื
ืคืจืืฉืื 15 63578 ืชื-ืืืื 03-6810001
ืืืจืง ืื ืื
ืืจืืฉืืื ืืื ืืคืื
ืื ื ืืกื ืืืืจ