“Portrait Of A Woman”, 1957, by Leon Kossoff, ©Leon Kossoff

The most violent images in this exhibition, however, speak more directly of the suffering and displacement of the Nazi years. Two astonishing crucifixions, one by Chagall and the other by Emmanuel Levy, two violent scenes of interrogation by George Grosz and Refugees, by my father Josef Herman, are all recent acquisitions by the Ben Uri. Put together with the work of the Whitechapel Boys and the post-war Anglo-Jewish artists, these show the variety and vitality of modern Jewish art and its complicated relationship with modern Jewish history.


“La Soubrette”, 1933, by Chaïm Soutine, ©ADGAP, Paris and DACS, London