Estelle
1933, 45 cm
Halacha
1950, 58 cm
;
Self Portrait
1973, 33 cm
Job
1947, 152 cm
Bathsheba
1948, 35 cm
Man opens the earth to reach the stars
1970, 366 cm X 305 cm
Not by might, nor by power, but by my spirit, saith the Lord of Hosts
1950, 366 cm X 305 cm
Chicago rising from the lake
1954, 366 cm X 426 cm
Ark-reredos
1957-8, 334 cm x152 cm
Binding of Isaac
1963, 83 cm
Dancer
1960, 47 cm
Creation of Adam
1961-5, 198 cm
Hymn to Water
1963-65, 305 cm x 732 cm
Hymn to Water
1963-65, 305 cm x 732 cm
Hymn to Water (detil on right side)
1963-65
Moses before burning bush
259 X 167 cm
Mother and child in garden
1948 (revised 1967) 165 cm
Pain
1970, 49 cm
Recording in the book of life
1969, 66 x 69 cm
History of Medicine
1954-56, 223 c x 96 cm
Goat and faun
re-installed in zoo
detail fragment : creation of Adam
re-installed on Presbyterian church
detail fragment : creation of Adam
Chicago Rising
re-installed on bridge
Chicago Rising
detail
Chicago Rising
Birth
Galen (History of Medicine)
Brink of the Precipice
Brink of the Precipice
Brink of the Precipice
Brink of the Precipice
Brink of the Precipice
Moses at the Burning Bush
Moses at the Burning Bush
Moses at the Burning Bush
Chicago Rising from the Fire
Chicago Rising from the Fire
Noah's Ark
Noah's Ark
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Milton Horn
1906-1995
Milton Horn was born in Russia in 1906, came to United States in 1913, and began to study art in 1918. He did not graduate high school,
but took miscellaneous art classes and soon worked in the Boston studio of H.H.Kitson. His father, Pinchas, was evidently active in traditional Jewish life and worked as a photographer. (his shot of Zorach’s “Dancer” is often reproduced). He began to build a career in architectural sculpture in the New York area, and worked cataloging Egyptian antiquities at the Brooklyn museum, developing contacts within the antiquities market that would help him build his own, extensive collection of ancient, Medieval, and Asian sculpture. (note: this collection was gradually sold off to support him in his old age – but it had to be seen to be believed, and he considered it the store of knowledge from which he learned) He was active in the Sculptor’s Guild and shared the enthusiasm in that period for direct carving and the control of form by planes. In 1939 he began his teaching career at Olivet College , a small, ‘great books’, liberal arts school in Michigan. In 1949 he quit teaching, moved to Chicago, and began to develop his Judaic themes – beginning with his ‘Job’ which was exhibited in the 1951 national sculpture exhibit held by the Metropolitan museum. Throughout his career, he collaborated with Estelle Oxenhorn, his wife, muse, critic, business manager, and incredible photographer. (all of the pictures – that is, all of the good pictures - are her work ) He innovated with the first (and probably the last) figurative representions of the divine in Jewish temples. (at least they were the first since the Romans sacked the second temple in Jerusalem and carried off the cherubim over the ark)He also completed several monumental relief sculptures for the City of Chicago, and the University of West Virginia. His career ended in 1975 with the death of Estelle – and he would not complete another project other than the erotic “God and Israel” that was dedicated to her memory. He died in 1995.
(note: a thorough and informative catalog of his life and work is available from the Spertus College of Judaica, 618 S. Michigan Ave, Chicago 60605)
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