What Polish-Jewish painter born in 1933 was featured in the Debel Gallery?
Debel Gallery The Debel Gallery was opened in 1973 in Jerusalem, when the city was a pilgrimage center for curators, journalists and art enthusiasts. Etienne and Ruth Debel opened the Gallery in the basement of their home in Ein Kerem. It represented well-known artists, and discovered new ones. In addition, the Gallery exhibited avant-garde artists, which was unusual for a private gallery; for example, in 1974 the Austrian artist Rudolf Schwarzkogler, and in 1976 the Gallery staged a performance of "Nidah" by Yocheved Weinfeld. Among the artists exhibited were the Israeli artists Yair Garbuz, Raffi Lavie, Gabriel Cohen, Yocheved Weinfeld, Maya Cohen-Levy, Daniela Passal; internationally famous artists such as Alexander Calder, David Hockney and many others. At the same time, the Debel Gallery promoted a group of artists who were considered to be on the "fringe" of the avant-garde artists. They were identified with Bezalel such as Zeev Raban, Meir Gur-Arieh, and Shmuel Levi; figurative artists such as Samuel Bak and Naftali Bezem. There was also a group of new immigrants from the U.S.S.R. who were also promoted by the Debel Gallery such as Naftali Bezem, Alexander Okun, Valentin Shorr, Anatoli Basin, and many others.
Portrait of Baronne de Rothschild Baronne de Rothschild is a 1848 portrait by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter, Betty de Rothschild (1805–1886) had married banker James Mayer de Rothschild and was one of the wealthiest women in Europe, and one of the foremost Parisian patrons of the arts. Her beauty and elegance were widely known and celebrated, and inspired Heinrich Heine's poem "The Angel". For her portrait, which is painted in oil on canvas, Ingres sought to infuse symbols of her material wealth with the dignity, grace and beauty of Renaissance art, especially that of Raphael, while at the same time adhering to the command of line as practiced by Jan van Eyck. It is this combination which, according to art historians, places Ingres so far apart from his early modernist contemporaries.