He studied in Vilna and Kiev art schools, Paris studios. In 1914 - 1921 he lived and worked in Petersburg and Kharkov. He studied at the New art workshop under M. Dobuzhinsky. Participant of exhibitions since 1916. Was part of the avant-garde groups "Group three", "Liren", "Union of seven". In 1921 he emigrated to Berlin. He lived in Paris. From the second half of the 40s in Israel. In 1920 - 1930 he participated in numerous Parisian salons (des Tuileries, Autumn, Superstability, etc.). In 1938 - 1954 - exhibition in new York. Worked in the field of portraiture, still life, landscape, genre painting. Works are in the Metropolitan Museum in new York, in the Luxembourg Museum in Paris, the Art Museum of Jerusalem.
[5.6.1894, Kremenchug, Poltava lips. — 8.9.1962, Tel Aviv]. Painter. M.-C. studied at Vilnius art. the school and the Kiev art. school; visited Paris, where he worked in different studios. In 1914 he settled in St. Petersburg and enrolled in the New art. Studio where she studied with M. V. Dobuzhinsky.
In 1916 he participated in the exhibition “World of art” (portrait pastels).
In 1918-1919 he taught at the Kharkov Academy of fine arts and became a prominent figure in local literary and artistic Bohemia. Was friends with the poets Vladimir Khlebnikov, N. Aseev, artists, V. Ermilov, V. Bobrick, etc. was part of the avant-garde “Group of three”, collaborated with the groups “Liren” 135 and the “Union of Seven”; participated in the compilation album “Seven plus Three” (1918); participated in the 1st exhibition of paintings “Union of arts” (opens may 7, 1918) and 2-th exhibition “Art. workshop” (January 1919). Her footsteps made in the journal “Creativity” (1919. No. 1. P. 32) note the material under the General title “exhibition of the Art Department in the assessment of its participants” (another extremely complimentary to the M.-K. — the painter of I. L. Erenburg).
In March 1919 mentioned body Art shop magazine “Creativity” among the leaders of the Group of drawing Art workshop. Participated in the design of the magazine.
He exhibited also in Rostov-on-don and Tbilisi.
In 1921 he left for Berlin in 1922 moved to Paris in 1928 he took French citizenship. In the 1920 — 1930's traveled extensively in the Middle East and southern Europe in the late 1930s he travelled to America in the 1940s he lived in new York, after the war settled in Israel.
From 1926 he exhibited in the salons: Autumn, Tuileries and Independent, in the 1930s — in the cabin Superstability. His first independent exhibition was held in Paris gallery Percier (1923 and 1928) and Brussels (1926). In the 1930s has held annual exhibitions in various Parisian galleries. In 1938 — 1954 exhibited annually in new York.
In 1927 — 1928 the work of M. K. was exhibited in several cities of Ukraine on all-Ukrainian jubilee exhibition dedicated to the 10th anniversary of the Oct. In 1928 he sent pictures of “Boy with donkey” and “portrait” in Moscow for the exhibition of Contemporary French art. Lunacharsky noted of the psychological content of his work.
M.-C. gave the Russian cultural-historical Museum in Prague the painting “Jewish woman” (oil, 1927) and “the Courtyard in the Bari. Italy” (tempera, 1936).
He painted portraits, genre scenes and landscapes of France, Italy, America, the Middle East. Most of his work related to Jewish subjects: the landscapes of Palestine, Jewish types, paintings inspired by Jewish history and religion (“the miracle worker, a Rabbi,” “the Old Jew” — 1934, “pastoral” — 1936, “the Violinist” — 1945, “the Praying Jew” — 1947, “the Procession” — 1951, “Orchestra”, 1953).
From reviews of the magazine “Art news” at the American exhibition M.-C. in 1938 and 1963:
“His painting Burney than Soutine, and nepokorniy than Delacroix. His methods are violent, and paint or shout in a loud voice, or a plant nearly impossible to silence. It with a delightful frankness expresses the tortured soul of a pious Jew, religious fervor and tenderness peculiar to his nationality. Like Chagall, he writes religious rituals and ritual symbols of his people, but without belonging to Chagall's bright and warm imagination, and with heavy deliberateness, not always close to the viewer the spirit.”
“He was a man of boundless energy and radiated warmth — quality running through all his work. In spite of long life in Paris between the road everywhere he adhered to the biblical images of pastoral life, close to the ground, which was associated for him with an ancient Jewish past. In the last few years have not dried up the flow of turbulent impasto, and if you want, there is the color exaggeration. It is close to Chagall in a nostalgic sense of Jewish wisdom, but the ubiquitous violinists of his Jewish weddings are feet on the ground; items poeticized restless svetimosti mane Katz”.
M.-C. is represented in many museums around the world, including in the Luxembourg in Paris, the Metropolitan in new York, Art. the Museum of Jerusalem.
Reproduction: Seven plus Three (see)
2 (Interieur; [loc. not the mouth.] 136 ) // Creativity. 1919. No. 1. Otd. L. between S. 26/27
The portrait of T. Churilina (Fig.); Portrait of G. R. (pastel) // Creativity. 1919. No. 2. Otd. L. between S. 26/27
Portrait Of E. Lanna; Portrait Of P. I. Ilyin // Creativity. 1919. No. 2. Otd. L. between pp. 32/33
Saver: “Jewish musicians” [3 Fig.: a flutist, violinist, drummer] // Creativity. 1919. No. 5 — 6 (June-July). P. 13
4 works: portrait; portrait; Fig. (figure in full. growth, Fig. young cross. in the coat) and landscape // Creativity. 1919. No. 5 — 6 (June-July). Otd. L. between pp. 16/17.
Lit.: M. Kin. Art exhibition “Union of arts” // Spikes (Kharkov). 1918. No. 2 — 3. P. 22
Exhibition of Art workshops to the participants. 1. I. L. Erenburg. 2. Mane-Katz // Creativity. 1919. No. 1. P. 30 — 32
Art shop // Art. 1919. No. 2 (March). 3rd S. reg.
HRA reference sources:
SFI 28, 64; Bulgakov, 39; Moscow — Paris, 38; Ed.-J., 2/431; Vollmer, 3/312; Benezit, 5/744; P haidon, 235 — 236; AI 2/777, 3/856, 4/733, 5/531, 6/683 — 684, 7/780, 8/776, 9/542, 12/566, 13/573, 14/619, 16/349, 19/587, 21/579, 25/492
I. Grabar. Exhibition of contemporary French art // Red panorama. 1928. No. 46. P. 12
A. N. Benoit thinks.... — M., 1968. P. 18, 267; B.'s Milashevsky. Yesterday, the day before yesterday... — L., 1972, p. 116; 3. Vogel. Vasily Ermilov. — M., 1975, P. 16; K. A. Somov. Letters. — M., 1979. S. 151, 545; R. R. Falk. Conversations about art. — M., 1981. P. 91, 98; A. V. Lunacharsky. About art. — M., 1982. Vol. 1. S. 363, 381; N. Yavorskaya. From the history of Soviet art... — M., 1988. P. 251; Mane-Katz. 1924 — 1928. Exposition. (Cat.). Gal. Percier, Paris, 1928; J. M. Aimot. Mane-Katz // Renaissance. V. 17. 1934 Mr. P. 6 4 a. Art News. V. 36, 1938 Ar. 16. P. 15; V. 62, 1963 Ar. P. 14.
