Crossposted from Samuel Gruber’s Jewish Art & Monuments
In 2009 I wrote an article for Tablet Magazine about Abstract Expressionist artist Adolph Gottlieb’s stained glass windows in the Kingsway Jewish Center in Brooklyn (this article has just been republished, without slide show, in a special Shavuot synagogue issue of The New York Jewish Week). I was already long interested in synagogue stained glass, but Gottlieb’s work made me more attentive to the innovative techniques, colors and symbols employed by synagogue stained glass artists in the 1950s and 1960s, the heyday of American abstract art. Gottlieb was able to successfully transform the traditional Jewish use of a limited number of religious and cultural symbols to a larger abstract artistic aesthetic. Gottlieb’s program also suggested a nearly-attainable grasp of archetypal highly charged symbols of both personal and cosmic significance, in the tradition of Jewish mysticism.
I was therefore delighted when visiting Connecticut earlier this spring to encounter two exemplary stained glass programs by artist Jean-Jacques Duval (b. 1930) in synagogues I was visiting for their architecture. Both Congregation Mishkan Israel in Hamden and Congregation B’nai Jacob in Woodbridge were designed by Fritz Nathan and Bertram Bassuk (1918-1996), and both include chapels with stained glass by Duval, and Duval did the sanctuary work at B’nai Jacob, too. According to Duval, who remains active as an artist today with more 450 major commissions completed, he and fellow artist Robert Pinart were brought in by the architects for Mishkan Israel.
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