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67-575: The Ofakim Hadashim art movement began with a group of artists who mounted an exhibition in Tel Aviv's Habima national theater in December 1942, under the name "The Group of Eight". The group evolved into a coherent artistic movement only after the founding of the state of Israel in 1948. Members of the school included Arie Aroch , Zvi Meirowitch , Avraham Naton (Natanson), Avigdor Stematsky , Moshe Castel and Yehezkel Streichman . Several of these artists were

134-468: A "Hebrew Identity" based on ancient Semitic heroic myths – such as Nimrod's. Though never gaining mass support, the movement had a considerable influence on Israeli intellectuals in the 1940s and early 1950s. In 1946 Danziger went to Grande Chaumière in the south of France to work in the local sandstone, from which he sculpted large-scale figures and heads. During the summer of 1948, he stayed in Perpignan in

201-453: A Window” (1938), for example, Aroch depicts a Dutch urban landscape viewed through a window. In this work, and in others from this period, Aroch used the emphasis on the horizontal and vertical lines of the painting to divide the composition in a nearly geometrical and flat manner. On January 21, 1939, a solo exhibition by Aroch opened in the “Santa Landwer” Gallery in Amsterdam. The exhibition

268-639: A broad range of artists, including Raffi Lavie , Aviva Uri , etc. Sarah Breitberg Semel , in her article, Agrippa versus Nimrod (1988), suggested Aroch as a model for the new Israeli concept of design in art, and suggested his painting, Agrippas Street was the representative of Jewish identity. In 1971, Aroch was awarded the Israel Prize in Painting for his work. Arie Aroch was born in November 1908 in Kharkiv , which

335-496: A car, a cave, we react in various ways. We are sensitive to angles, to a narrow street we pass, to a riverbed, a steep slope, a sheer precipice, a falling shadow – all of these influence our feelings.” He was fascinated by the relationship between man and animal, and between a world of order and disorder. His artistic development was nourished by his longing to reach a oneness with that continuity which derives its vitality beyond immediate existence. To Danziger's way of thinking,

402-553: A description with abstract underpinnings. Upon his return to mandatory Palestine in 1936, Aroch earned his living as a land surveyor. He married Ellen Albeck (Elroy), whom he met on the boat on the way back from Paris . This marriage lasted only a short time. With regard to his art, Aroch continued to paint under the influence of the Paris School. He participated in a group exhibition in the Tel Aviv Museum of Art , and he designed

469-472: A major masterpiece of Israeli art, and has noticeably influenced and inspired the work of later sculptors, painters, writers and poets up to the present. The Nimrod Statue was also taken up as the emblem of a cultural-political movement known as "The Canaanites" , which advocated the shrugging off of the Jewish religious tradition, cutting off relations with Diaspora Jews and their culture, and adopting in its place

536-410: A naked hunter, uncircumcised , carrying a bow and with a hawk on his shoulder. The style shows the influence of Ancient Egyptian statues. The unveiling of the statue caused a scandal. The Hebrew University of Jerusalem which had commissioned Danziger's statue was not happy with the result and religious circles made strong protests. Within a few years, however, the statue was universally acclaimed as

603-783: A number of group exhibitions. In 1968 Yona Fischer curated an exhibition of 48 of Aroch's work in The Israel Museum . In addition the Museum awarded him the Sandberg Prize . In 1970, Aroch underwent an operation for the removal of a tumor. In 1971, Aroch was awarded the Israel Prize in Painting. In his last year, Aroch included many ars poetica elements in his work. As part of this approach, Aroch included in his work many variations on characters taken from literature. Examples include his painting “Two Cubes” (1968) and his series of paintings of rowboats from 1968 to 1970, in which details from

670-455: A number of lessons given by the cubist painter Fernand Léger . In the painting “Interior with Chair” (1935), which Aroch painted during his stay in Paris, the interior of a blue room is depicted in quick strokes of the paintbrush, with a red chair in the center of the room upon which various items of clothing are spread. The style of this painting, which is typical of Aroch during this period, typifies

737-422: A number of painters identified with the “ Want of Matter ” movement, most notably Raffi Lavie , who was viewed, along with Aviva Uri, as paving the way for new Israeli painting. Beginning in the 1980s, a new interpretation of Aroch's works began to surface. Instead of emphasizing the formalistic aspect, art critics began to focus on the contents of Aroch's works, including the elements from Jewish tradition. Aroch

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804-403: A prominent members of Okakim Hadashim he painted in the abstract lyric style but unlike his colleagues Mairovich was more inclined to a German rather than a French pallette. Hs bold use of black and reds particularly in the gouaches. The big breakthrough was in oil pastels, that only he made in large format. Using a deep space photo surface rather than a flat paper was pioneering moment. Others in

871-452: A shoemaker's sign from Aroch's memory, an image of a boot, which Aroch recalled from his childhood. Aroch created variations of this image, arriving in the end at a sort of abstract form placed within an oval frame. In a later interview, Aroch explained the development of this image as the basis for “concrete abstraction”: “The image that developed from the boot looked like a concrete image (as opposed to an abstract one), whose right of existence

938-507: A similar series on Naan (a kibbutz in central Israel), 1950–1952. Both these series include abstractions of the Israeli landscape. Zvi Meirovich one of the founders of New Horizons produced a series of large oil paintings called Mizpe Ramon focusing on the Israeli deseret. Sculptor Dov Feigin produced "Wheat Sheaves" in 1956, and Dadaist Janco painted "Soldiers", "Air raid Alarms" and "Maabarot" (jerry-built communities housing new Jewish immigrants in

1005-631: A studio in the small yard attached to their house. In 1947 Aroch participated in the Exhibition of “The Seven” at the Tel Aviv Museum of Art. At this exhibition ten works of his were shown, including “Men on the Promenade” (1943) and paintings of other scenes. Eugene Kolb published a flattering critical article on Aroch's work, and described his transition from Post-Impressionism to an emphasis on “constructed forms” and “simplicity of color.” His works from

1072-425: A style that reflected the striving for Zionism and Modernism. This style was largely dictated by the leading artists of the group - Zaritsky, Stematsky Mairovich and Streichman. In practice, this style was a variant of European modernism. The style has been called "lyrical abstract", but in fact, there was little purely abstract art, but rather works rooted in the local visual landscape. This essentially figurative style

1139-500: A unique style that expresses our own reality". For these artists, this was not only a statement of philosophy, but a practical work plan. Zaritsky, who served as chairman of the League of Painters and Sculptors in the Land of Israel, opposed the league's philosophy of equality among artists. In 1948, at the time of the opening of the artists' house that was to become the League's permanent home, he

1206-520: Is considered to be one of Israel's most important sculptors. He was a mentor and a model of artistic practice. His work continues to be very popular. He is best known for his sculptures of figures, including "Head of a Man". His sculptures of goats "Ein Gedi" and sheep "Sheep of the Negev" are known for reflecting his artistic vision. He explained: "A flock of sheep resembles a carpet, something which glides down

1273-589: Is the right of existence I wanted to embody in an abstract object, in an object that corresponded to a definition I had created previously.” In 1963 Aroch returned from Sweden and settled in Jerusalem . He established a professional contact with Bertha Urdang , director of the Rina Gallery, Jerusalem, who mounted an exhibition of his works during this year. In addition, he was appointed the Director of Cultural Affairs in

1340-609: The Bezalel Academy in Jerusalem. He also enjoyed running workshops at the artists’ village at Ein Hod, which was an integral part of his vision as an artist. Danziger and seventeen sculptors from different countries were invited to participate in the cultural events of the 1968 Olympic Games in Mexico City. He created 'Gate of Peace', a giant sculpture that reaches some 7.5m in height. He

1407-599: The Canaanist movement. In the field of sculpture, the group introduced new media. Yechiel Shemi , Dov Feigin, and, after a sojourn in Britain, Itzhak Danziger , introduced welded steel as a new medium. This new form freed these artists from the figurative character of stone and wood carving, for a more purely abstract oeuvre. Here, too, however, there is frequent reference to the Canaanite figurativeness and symbolism. Indeed, during

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1474-584: The Foreign Ministry , where he remained until his retirement in 1971. While participating in a meeting in Rome, as part of his job with the Foreign Ministry, he acquired the concept of using "Panda" oil pastel chalk, and started to work on a large body of work using this technique, some of them on reproductions and magazine pages (Gideon Efrat states that it was Aroch who introduced the term “Panda” into Hebrew as

1541-607: The " Ofakim Hadashim " (New Horizons) group. Danziger was born in Berlin in 1916. His father was a surgeon and served in the German Army during World War I . The family settled in Jerusalem . Danziger studied art at the Slade School of Fine Art 1934–37. He met Marion Edie at the Slade and they later married and had a son, Jeremy. Marion's mother was Muslim and Marion's union with Danziger

1608-591: The 1950s). Some of the New Horizons artists belonged to the "Center for Advanced Culture" run by the Socialist-Zionist youth movement " Hashomer Hatzair ". This activity culminated in the founding of the artists' village Ein Harod by a group of artists headed by Janco. There, Janco hoped to found a new socialist and artistic utopia. Mordechai Ardon's work stands out from that of other New Horizons artists for dealing with

1675-438: The 1950s, the "New Horizons" group tended more and more toward the abstract, and away from reliance on the figurative. Zaritsky led this shift, which was rooted in what he saw as a guiding ideology. Some members of the group, however, rejected this ideology, and eventually quit the movement. These included Janco, Aharon Kahana and Yehiel Simon. While the abstract and secular works of the New Horizons group had profound influence on

1742-562: The Bezalel School at the time. Mordechai Ardon , head of Bezalel, wrote in 1954, "Every artist, like every citizen, must serve his country in heart and in soul". New Horizons artists, too, despite their avowed adherence to a philosophy of universality, often expressed in their works sentiments of nationalism, Zionism, and socialism. For example, Zaritsky, one of the leading ideologues of the universalist school, produced series of paintings focusing on Israeli kibbutzim - his series "Yehiam", and

1809-697: The Creation, a depiction of the Exodus from Egypt, and a depiction of Moses with the Ten Commandments as they appear in the 14th-century Sarajevo Haggadah . These works, such as the “Jewish Motif” (1961), “Arch in Blue-Purple” (1961), or “The Creation, Sarajevo Haggadah” (1966), exhibit abstract symbols of metaphysical significance. In these works, Gideon Efrat asserts, Aroch combined “Israeli lyrical abstraction, which Zaritsky and his colleagues had exported from Paris, with

1876-583: The French “Informel,” combined in Aroch's work in a delicate style that became known as “concrete abstraction.” For Aroch and his interpreters the meaning of this style was a combination of figurative images that had a symbolic meaning for the artist, and design as abstraction in order to create a new, independent form. Among his well-known works of this period is a series of paintings known as “Tzakpar” that Aroch began painting in 1961. These works are based on an image from

1943-760: The South of France. In September, he settled in London and reconnected with his classmates from the Slade, including Eduardo Paolozzi and Kenneth Armitage . In 1950 he had a solo exhibition at the Brook Street Gallery. Danziger was involved with two schools: the Cass Institute near Whitechapel and he participated in two courses in the design of gardens and landscape at the School of Architecture Association . While entering art competitions, he supported himself financially restoring

2010-466: The apparently meaningless lack of pathos that characterizes his work, by his techniques (erasures, engravings, doodles). Aviva Uri , and after her Raffi Lavie, can be counted among those artists. Itzhak Danziger Yitzhak Danziger ( Hebrew : יצחק דנציגר ; 26 June 1916 – 11 July 1977) was an Israeli sculptor. He was one of the pioneer sculptors of the Canaanite Movement , and later joined

2077-408: The artist is an intermediary whose primary interest is to ensure the continued existence of that fragile encounter between man and the place he belongs. Danziger derived new methods using the interdisciplinary approach, combining the fields of ecology, geography, anthropology, and archaeology. Each of these fields contributes in its own way to the creation of the encounter with the "place" with all

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2144-501: The beginning of the decade Aroch painted a series of scenes of Zichron Yaakov and Haifa , in which he lived off and on from 1942 to 1946, while he served in the British army. In addition, he designed uniforms for the first Lahakat Tsahal (the national Military Band of what was then the Land of Israel), which gave its first programs in 1942 and 1943. During the entire first half of the decade he presented his work in group exhibitions held in

2211-454: The course of art in Israel, they were nonetheless considered at the time to be on the fringes of mainstream art, which was mostly figurative and often bearing explicit Jewish and Zionist messages. This explicitly nationalist trend in Israeli art was denounced by its opponents as "regionalism". New Horizon critics, who maintained that art was international and universal, were opposed by the ideology of

2278-567: The creation on personal handwriting; instead of professionalism, impoverishment of process – using non-traditional techniques to give birth to forms; instead of identifying with French abstract art – citing and using images that belong to various artistic concepts. Thus were born in his works forms from children's paintings, the use of commonplace objects, folk or traditional images or images connected to childhood memories. Arie Aroch influenced young artists more by his thoughts, by his way of combining different images with each other in his paintings, by

2345-413: The establishment of Kibbutz Yehiam in northern Israel. The early paintings in this series (mostly watercolors) depict the natural landscapes of the region, while the later paintings are (mostly oil) abstractions of these earlier scenes. This progression, contends art critic and curator Mordecai Omer, reflects Zaritsky's belief that external visual reality is the basis of artistic originality. Zvi Meirovich,

2412-421: The exclusive representative of Jewish nationalism. “Agripas Street” was put forward by her as a more worthy alternative as a work that combines “Jewish” values with Zionist values. Arie Aroch, in spite of the fact that he was a member of “New Horizons,” offered in his works an alternative to “lyrical abstraction.” Instead of formless abstraction, he suggested concentrating on forms; instead of objectivity, basing

2479-460: The exhibitions that he is known to have seen is an exhibition of Emmanuel Mane-Katz . In 1924, Nisselvich made aliyah to Palestine with his parents and his sister, while his older brother remained in the Soviet Union. During 1925 and 1926 he studied art at “ Bezalel .” Among his classmates were Avigdor Stematsky , Moshe Castel , Sionah Tagger , Yehezkel Streichman , etc. His teachers included

2546-827: The facades of buildings such as the Neo-Gothic stone carvings on the Houses of Parliament in London. In 1955 he returned to Israel and he was commissioned to design a sculpture for the Kaplan building of the Hebrew University . In the same year, Danziger began teaching three-dimensional design in the Architecture Department at the Technion Institute in Haifa, a position he held for the rest of his life. He also had teaching roles at

2613-521: The framework of which he exhibited in the association's general exhibition. On the death of his father in 1932, Aroch erected a tombstone in the Trumpeldor Cemetery and engraved on it a poem by David Shimoni , his teacher at Gymnasia Herzlia. In 1934, his mother died also. In 1934 Aroch went to Paris and studied there in the Académie Colarossi . Among other things Aroch participated in

2680-512: The generic term for this kind of pastel chalk). In 1964 Aroch exhibited 34 of his paintings in the Israeli exhibition at the Biennale in Venice , some of them drawn using the technique of “Panda” colors. In 1966 Masada Gallery in Tel Aviv held an exhibition of 23 of his Panda color drawings, organized by Raffi Lavie. Another series of works that Aroch worked on during the 1960s was based on a depiction of

2747-504: The group, however, deviated from this style. Marcel Janco, of international fame for his involvement in the Dada movement in Europe in the 1930s, did not adopt this approach to abstraction; rather his art uses European Cubist and Expressionist styles to create a Jewish-Zionist narrative. Moshe Castel, also, went through a transformation during the 1950s from abstraction to expressionism characteristic of

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2814-465: The memory of the Jewish people, a combination of New Horizons and Old Horizons.” and Judaism with Universalism. In his works "The High Commissioner" (1966) and "Agripas Street" (1964), Aroch created his most typical combination of “concrete” local perceptions and international “Pop Art”. In "Agripas Street," the most widely analyzed of all Aroch's works, Aroch combined symbols from the period he spent at Bezalel in Jerusalem that emphasized his interest in

2881-577: The middle of the decade show a tendency toward schematism and the deconstruction of the scene into geometric parts in the style of the Cubists. This phenomenon can be seen also in earlier works, such as “The Red Bus” (1944-1946), from his series “Bus in the Mountains.” From 1956 to 1959, Arie Aroch served as the Israeli ambassador to Brazil . Concurrently, he served as Ambassador to Venezuela (1957 - 1958). During these years he didn't paint much. In 1959 Aroch

2948-621: The mystical and historical, rather than concentrating on the present. His canvases often depict episodes from Jewish history, from Biblical scenes to the Holocaust. In 1965 Raffi Lavie founded a group called " 10+ ", which sought an alternative to the "lyric abstraction" of the New Horizons group. Source: Arie Aroch Arie Aroch (in Hebrew אריה ארוך; born 1908, in Russia – October 15, 1974, in Israel)

3015-521: The nickname “Aroch” (long) was born and stuck to him because of his height. This nickname was eventually adopted by Nisselvich as his family name. In 1929–1930, Aroch spent a year and a half at the Technion studying architecture. In 1932 he studied for a short time in the painting studio that Joseph Zaritsky had opened. In addition, he was accepted into the Israeli Painters and Sculptors Association, in

3082-407: The only option for the artist was to adhere to nature, to return to the landscape. He said in an interview: “Abstract sculpture at its best gives us no associations of reality, although it is rooted in reality. We are surrounded by nature and influenced by it: geological forces, changes in the environment over time, they all have their impact upon us. When we encounter a rectangular object, a table,

3149-418: The outset of his artistic path he created sculptures which inhibit space as static objects capable of being immediately perceived, and over the years the objects progressively diminished and the sculptural experience became an extended process of transitions in space and time, occurring in the landscape and blending into an organic succession of encounters between man and his environment. Danziger believed that

3216-449: The painter Shmuel Ben David , the enamel artist Aaron Shaul Schur , and Jacob Eisenberg , in whose workshops he made ornamental ceramic tiles, for signs, among other things. In addition, a friendship developed between him and the artist Chaim Gliksberg , who taught him the art of painting with oil paints. In 1926 he studied in the science track at Gymnasia Herzlia in Tel Aviv . There

3283-434: The religious and secular symbolism of authority and government. In "The High Commissioner,” which continues his interest in these symbols, Aroch used additional iconographic elements, based on the history of Western art, which were destined to show up in his later works as well. Among these elements, the combination of the colors red and blue and the duplication of images stand out. Between 1967 and 1970, Aroch participated in

3350-473: The set for “The White Circle” (1936), a Japanese legend directed by Friedrich Lobe at the “Ohel” Theatre, and for the play, “HaShomrin,” by Ever-Hadani at Habima Theatre. Aroch spent the years 1938–1939 in Amsterdam . The influence of Vincent van Gogh can be seen in “Vase of Flowers and Still Life” (1938), in which the energetic brushstrokes and the theme typical of Van Gogh stand out. In his work “Through

3417-439: The students of École de Paris artist, Isaac Frenkel Frenel . The work of sculptor Dov Feigin also appeared in the catalog of the 1942 exhibition, though it was not displayed. In February 1947 five of the original members of the group joined Joseph Zaritsky for an exhibit called "The Group of Seven" at the Tel Aviv Museum of Art . Members of the group stated that "The group is based in modernism, especially French, yet seeks

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3484-444: The subdued expressionism that Aroch adopted under the influence of artists of the “ Paris School ,” such as Chaïm Soutine , Marc Chagall , Isaac Frenkel and Mané-Katz . In the 1930s painting “Portrait”, Aroch also uses expressionistic brush strokes to create this melancholy portrait. Unlike those of other painters, Aroch's paintings don't exceed the boundaries of artistic representation, and his expressive brushstrokes don't turn into

3551-758: The textbook of Christian Ludolph Reinhold are cited, “In the Style of Derain’s ‘Ball of soldiers in Suresnes’” (1967), based on the work by André Derain . etc. Another ars poetica motif is the profile of Adam. During the last years of his life Aroch planned two monumental projects: a wall hanging for the soldier's home in Afeka and a wall relief made of sawed-off pipes for the Hebrew University Library. However his serious illness prevented him from finishing these projects. He died on October 15, 1974. For years Arie Aroch's work

3618-485: The varied contents of a man's natural environment which merge in a unique way, to create a complex network, a plurality of meanings, a completeness which is indivisible and integral. He returned to Palestine and set up a studio at Tel Aviv in 1937. Danziger created his statue " Nimrod " in 1938–1939. The statue is 90 centimetres high and made of Red Nubian Sandstone imported from Petra in Jordan . It depicts Nimrod as

3685-552: The “Habima” building. When he participated in the “Exhibition of the Eight” that was held in December 1942 in the “Habima” building, Haim Gamzu remarked on his use of color, influenced by Van Gogh, and was awarded the Meir Dizengoff Prize for a Young Artist by the Tel Aviv municipality. In 1943 he married Dvora Koenig. After Aroch's release from the army in 1946, the couple moved to 120 Hayarkon Street in Tel Aviv, where he opened

3752-487: Was Aroch's exposure to exhibitions of the contemporary art of that period that were held in the Stockholm City Museum during those years. Among others, in 1962 Aroch attended an exhibition of the works of “Pop Art” artists, including Robert Rauschenberg and Jasper Johns . The use by American artists of “modified” Ready-made objects as part of their artistic works, and the abstract styles known as “ Tachisme ” and

3819-472: Was an Israeli painter and diplomat born in Kharkiv , now Ukraine and then part of the Russian Empire. Aroch's work was a mixture of Pop Art and abstract art , along with elements from his biography . In addition, many scholars of Israeli art history have pointed out Aroch's pioneering use of Jewish themes in his works. His painting style included unstructured scribbling and drawing, and it influenced

3886-599: Was covered in the local press, and the Parisian influence on Aroch was mentioned. In 1939 he returned to Tel Aviv , where he mounted a solo exhibition at the Katz Gallery of many of the works he had produced in Amsterdam . His works from the 1940s continued in the style he had crystallized in the Netherlands, based on composition that is dominated by clear geometric division. During these years Aroch painted many landscapes. At

3953-621: Was delegated to select works for the Bienniale in Venice. His selections caused such an outrage among the members that he was ousted from his position. He walked out with a group of artists, and founded an alternative movement, the "New Horizons". On 9 November 1948, the Tel Aviv Museum of Art opened the first exhibit bearing the movement's name. Among the artists showing were Pinchas Abramovich, Marcel Janco , Aharon Kahana , Yohanan Simon , Avshalom Okashi and Moshe Castel , as well as movement founders Zaritsky, Streichman and Feigin. The group sought

4020-607: Was happy. They remained friends after their separation. Danziger's work was influenced by his visits to the British Museum , the Anthropological Museum and the art from Ancient Egypt , Assyria , Babylon , Persia , India and Oceania and Africa. These would later on play an important role in his sculptures. His work centres on the need to redefine the essence of sculpture. In the course of forty years, Danziger's work focused on two principal factors: space and time. At

4087-469: Was named the Israeli ambassador to Sweden . His stay in Sweden released a great burst of creative energy in him. Between 1960 and 1962 he began to produce his most significant body of work, which differed from the style of Israeli painting of the other members of “ New Horizons ” in everything connected to the inclusion of extra-artistic symbolic images. One of the things that motivated this burst of creativity

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4154-500: Was one of the founders of the “Tarbut” Gymnasium in Russia. At home he received a secular education that included music lessons and exposure to literature and poetry . During his childhood, he drew all the time. In an interview years later he said that by age 6 he was making charcoal drawings of whoever was in the house. In addition Nisselvich was exposed to art exhibitions in Kharkiv. Among

4221-412: Was perceived as being on the periphery of Israeli abstract art. As with many of the artists of the “ New Horizons ” group, his early works were influenced by the post impressionism and the expressionism of the School of Paris (Ecole de Paris). Even though in his works the images went through a process of formal reduction, that is, abstraction, the formula that Joseph Zaritsky crystallized in “New Horizons”

4288-412: Was perceived as having made the connection between local Israeli Judaism and universalism. In her article “Agrippa versus Nimrod” (1988), Sarah Breitberg-Semel presented Aroch's work as a model for the design of a new Israeli concept. In her article she attacked the canonical concept in the research literature on the history of Israeli art, with regard to “Nimrod” (1939) by Itzhak Danziger, that saw in it

4355-476: Was pushed toward the abstract by bold brush strokes, and a strong use of bright colors typical of the "Land of Israel" style, reflecting the strong Mediterranean light. Formats were generally rather small, and the style was similar to European abstract art before the second World War, akin to the art of Wassily Kandinsky, and unlike the abstract art prevalent in the United States at the time. For example, in his series "Yehiam" (1949–1952), Zaritsky depicts scenes from

4422-400: Was then part of the Russian Empire and today is part of Ukraine . His name was Lyova Nisselvich, the youngest of the three children of Rivka-Shulamit and Haim Nisselvich. At the time of his birth, Kharkiv was outside the Jewish Pale of Settlement of the Russian Empire . His father was a wealthy merchant active in Zionist political circles in Tzarist Russia. Among other things, his father

4489-546: Was very far from Aroch's interest in the significance of the images. Aroch invested his time in many interviews in order to emphasize his interest in formalism, in its forms and in its way of constructing a painting. However, many of the abstract forms and images were the result of the process of “concrete abstraction,” in which the forms preserved, for Aroch, their symbolic significance. The painting technique which Aroch created, which included doodling, engraving, and “scribbling,” alongside of rational abstract painting, influenced

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