{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/80962"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/80962","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Max Weber, Raphael Soyer, and the Politics of Style in Jewish Art between World War I and World War II","abstract":"M.A.","abstract_html":"M.A.","abstract_has_math":false,"creators":["Kersten, Benjamin; 0000-0001-9332-743X"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Katz, Jonathan","Visual Studies"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-10-29T16:48:32Z","date_published":"2019-10-29T16:48:32Z","updated_at":"2026-07-27T19:05:28Z","subjects":["art history"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/80962","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Katz, Jonathan","Visual Studies"]},{"key":"dc:creator","label":"Author","values":["Kersten, Benjamin; 0000-0001-9332-743X"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-10-29T16:48:32Z","2019","2019-08-19 11:04:56"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["art history"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/80962"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["M.A.","“Max Weber, Raphael Soyer, and the Politics of Style in Jewish Art between World War I and World War II” asks why Max Weber and Raphael Soyer advanced diametrically opposed aesthetic strategies in the first half of the twentieth century and analyzes the political implications of their choices with regard to the process of Americanization, leftist organizing, and gender politics. It argues that Max Weber traversed modernist styles and eventually applied them to traditional Jewish subjects in order to assert a distance between himself and a socially-shattered, increasingly antisemitic world. Conversely, Raphael Soyer viewed America as a new beginning and committed himself to a realist style in the hopes of integrating himself into life in the United States. Analysis of these two artists trajectories adds crucial texture to art historical studies of Jewish art made in the United States which tend to privilege the narrative of Americanization."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Max Weber, Raphael Soyer, and the Politics of Style in Jewish Art between World War I and World War II"]}]}],"canonical_facts":{"dc:contributor":["Katz, Jonathan","Visual Studies"],"dc:creator":["Kersten, Benjamin; 0000-0001-9332-743X"],"dc:date":["2019-10-29T16:48:32Z","2019","2019-08-19 11:04:56"],"dc:description":["M.A.","“Max Weber, Raphael Soyer, and the Politics of Style in Jewish Art between World War I and World War II” asks why Max Weber and Raphael Soyer advanced diametrically opposed aesthetic strategies in the first half of the twentieth century and analyzes the political implications of their choices with regard to the process of Americanization, leftist organizing, and gender politics. It argues that Max Weber traversed modernist styles and eventually applied them to traditional Jewish subjects in order to assert a distance between himself and a socially-shattered, increasingly antisemitic world. Conversely, Raphael Soyer viewed America as a new beginning and committed himself to a realist style in the hopes of integrating himself into life in the United States. Analysis of these two artists trajectories adds crucial texture to art historical studies of Jewish art made in the United States which tend to privilege the narrative of Americanization."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/80962"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["art history"],"dc:title":["Max Weber, Raphael Soyer, and the Politics of Style in Jewish Art between World War I and World War II"],"dc:type":["Text","Thesis"]},"updated_at":"2026-07-27T19:05:28Z"}