Yosl Bergner
Yosl Bergner was born into a Jewish family in Vienna, Austria, on 13 October and grew up in Warsaw, Poland. In , fleeing antisemitism the family moved to Australia (his father was involved in an ultimately unfulfilled plan by the Freeland League for Jewish Territorial Colonization to search for a potential Jewish homeland) and he studied in the National Gallery School in Melbourne. During the Second World War Bergner served in the Australian Army, afterwards continuing his studies. He lived in Melbourne from –48, socialising with a wide circle of local artists, among whom were Sidney Nolan and Stacha Halpern. Bergner left Australia in , travelling in Paris, Montreal and New York City. Two years later he settled in Safed, Israel, moving to Tel Aviv in with his wife, the artist Audrey Bergner. He is best-known as a painter of allegorical still lifes and also designed scenery and costumes for the Yiddish and Hebrew theatres. In , Bergner was a co-recipient of the Dizengoff Prize for painting, receiving the Israel Prize for painting in and he exhibited widely in Melbourne, Paris, Tel-Aviv, New York, Montreal and in the Venice Biennale and the Sao Paulo Bien
painter, was born in Vienna in , he and his family had lived in Warsaw until forced to flee in because of the Nazis. He worked in Melbourne , where he was an active member of the Contemporary Art Society &#; and a communist &#; along with his friends Noel Counihan and Vic O&#;Connor . They painted the life they saw on Melbourne streets. He first exhibited with Boyd and Counihan at the University of Melbourne in Bernard Smith wrote in that Bergner, Boyd and Perceval constituted 'the most vital movement in Australian art today&#;. Some of Bergner&#;s paintings were the first to address the specific plight of Aboriginal Australians, according to Mellick. 'He recalled: &#;I did not know what an Aborigine was. He did not look like a Negro, more like a Jew… I painted these people with the faraway look in their eyes from generations before. They were displaced and I felt I identified with them.&#; Works included Two Women (NGV) &#; one an Aboriginal.
One of the first things Bergner did in Melbourne was to set up a Yiddish theatre. His father Melech Ravitch was a Yiddish poet who had translated Kafka from German into Yiddish in the year of Kafka&#;s death (), but Bergner&#;s
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Yosl Bergner was born in Austria, grew up in Poland and lived in Melbourne for ten years. His contributions to Australian art are indomitable: not only did he bring German Expressionism to our shores, he helped legitimise political fine art. Alongside Vic O’Connor and Noel Coulihan, Bergner championed social realism – an art genre that critiques the power structures underlying class relations. He called himself a Social Humanist.
Bolstering Bergner’s political consciousness was his faith. A devout Jew, he evaded the Holocaust but served in Second World War as part of Australia’s army. Bergner perceived a shared experience between Australia’s Aboriginal peoples and the Jewish diaspora, recognising that both were victims of dispossession, violence and bigotry.
Bergner encouraged Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd to transcend the traditional landscape style and focus on political issues. His influence is thus embedded in the Modernist spirit.
In , Berger moved permanently to Israel where he was awarded the Israel Prize for painting and the Dizengoff Prize for painting. Beloved by both Australia and Israel, he
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In the 20th century, social realism developed in response to the social and political turmoil of the inter-war years. World War I and the Great Depression inflicted pronounced inequality and hardship. Around the world, social realist artists sought to portray the lived experiences of society’s marginalised with frankness, believing that art should serve a social purpose. Internationally, artists such as Käthe Kollwitz, Edward Hopper and Dorothea Lange captured this, building on the social realist centring of the working classes by French artists Jean-Franҫois Millet, Honoré Daumier and Gustave Courbet almost a century earlier.
In Australia, a loose coalition of politically motivated artists, including Yosl Bergner, Noel Counihan and Danila Vassilieff were committed to painting the experiences and struggles of the everyday. They drew on subjects from their inner-city Melbourne surrounds, painting workers, dispossessed Aboriginal people and the urban poor, and creating images that reflected the ongoing impact of the war and Depression while capturing their subjects' humanity, dignity and resilience. All were members of the Contemporary Art Society (CAS), establi
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