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Drawing on the Israel Museum's extensive collection of Jewish dress, the largest of its kind worldwide and dating from the late nineteenth century to the present, this colourful volume explores Jewish dress and its fashions, history and development in Jewish communities across the globe, in particular those established for centuries in the Middle East, North Africa and East Europe. It makes a special point of analysing the interaction of Jewish costume with that of surrounding cultures and its consequent development. Written for a broad audience, the book addresses specific questions like the impact of religious requirements in matters of dress and appearance, such as the need for married women to cover their hair and the myriad forms of head covering and decoration that this stricture has given rise to. An entire section is dedicated to the different forms of dress and jewelry worn by brides and grooms throughout Jewish communities on the day of their marriage and related customs such as the decorative painting of the bride with henna. Lavish images of specific garments, accompanied by detailed descriptions, are juxtaposed with rare contextual photographs from the Museum's archives, attesting to individual and communal taste and offering a wonderful source of inspiration for modern day fashion designers. The Israel Museum's collection of Jewish dress contains unique examples from the rich history of Jewish communities on five continents. It is a holding of singular depth and breadth, ranging from Morocco to Bukhara. A number of these costumes have never been published before. For the first time, the present publication explores important issues of Jewish dress in a comparative thematic fashion and in a cross cultural way, offering a deeper understanding of the multi faceted nature of Jewish dress. It also contributes to the knowledge of fashion history and with its close up images of details, broderies, and textiles it will be of great interest for contemporary fashion designers.
(source: Nielsen Book Data)

With almost 300 full-color reproductions and fascinating in-depth commentaries by the museum's curators, the book is both beautiful and informative. Its four main sections correspond to the museum's organization - Art, Judaica, Archaeology, Youth Wing. The Israel Museum collection of Judaica and Jewish ethnography is considered the most comprehensive in the world. Included are a number of whole synagogues from historical communities around the world and a rich assortment of ritual and religious objects, as well as clothing, jewelry, and other material. Together, they offer an illuminating overview of Jewish ritual, custom, and day-to-day life in many cultures. The Archaeology Wing houses the largest and most important collection of antiquities from the Holy Land, and its permanent archaeological exhibition takes visitors from the prehistoric period and the emergence of Homo sapiens up to the Middle Ages. Many of its exhibits are of profound universal significance since it was in this region that the world's first organized religions were born more than 10,000 years ago. The Youth Wing, which draws half of the Museum's visitors every year and has established an international reputation for its innovative activities, is presented in the book's fourth section.
(source: Nielsen Book Data)

• Foreword, James S. Snyder-- Acknowledgements, Alex Ward-- Color it Red: The Rosta Window Posters, Alex Ward-- Stains of Colors and the Ringing of Slogans: Mayakovsky and the Rosta Posters, Muza Anatolivna Nemirova-- Iconographic Lexicon-- The Collection-- Selected Biographies.
• (source: Nielsen Book Data)

"Power to the People" presents the Israel Museum's major collection of propaganda posters from the early years of the Soviet Union, documenting one of the most interesting chapters in twentieth-century graphic design. The Russian Telegraphic Agency (or ROSTA) was established in September 1918 to disseminate government information, new decrees and decisions, and articles of note taken from the foreign press. Selected information was relayed by telegraph to ROSTA collectives that were responsible for creating posters. Teams of writers, artists and stencillers quickly wrote the texts, created suitable visual images, and printed the posters, which were displayed in kiosks, railway stations, market places and shop windows no later than the following morning.The posters were the trumpet call of the Bolsheviks, intended to rally the populace and transform it into a politically sound obedient entity that would work together against the threats facing the new Soviet regime. The teams of artists and writers who collectively produced the propaganda posters were inspired by the traditional vernacular of political cartoons, by the lubok wood-cut technique of Russian folk art, and by the ideas of Futurism. They combined text and illustration to comment on social and political issues of the day in an indirect or allegorical manner. Satire was used freely to portray the enemies of the state as grotesque and unsavoury. The most dominant figure was the avant-garde poet and artist Vladimir Mayakovsky, who in addition to creating many of the images was responsible for the majority of the written texts.The Israel Museum's collection of Soviet propaganda posters, donated by Merrill C. Berman of New York, is the largest museum collection of its kind outside Russia. This book illustrates the entire collection for the first time, alongside translations of the poster texts, an iconographic lexicon, 50 large-format reproductions of key posters, and enlightening essays on the posters' historical context.
(source: Nielsen Book Data)