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Moses Kottler (1896–1977) was a South African painter and sculptor. He is widely regarded, along with Anton van Wouw and Lippy Lipshitz, as one of the most important South African sculptors. This triumvirate had the distinction of also having excelled at using pictorial media; Lipshitz with monotypes and Van Wouw in painting and drawing. Kottler's work in oils earned him additional consideration as a painter.〔 ==Early life and education== Moses Kottler, nicknamed Moshe, was the eighth child of Joseph Kottler and Zirla Solin. His father was a trader of agricultural goods and their home – opposite a synagogue – seems to have been prosperous by the standards of Jews in Czarist Russia. Their home language was Yiddish, but Moses also gained command of German and Russian during his youth. He displayed manual dexterity and superior drawing ability from an early age. Moses' remarkable manual dexterity soon came to the attention of an uncle, Haim Israel Sacks, who was a leading Zionist. He took a photograph of a snowman Moses had created, and showed it to a sculptor, Ilya Jakovlevich Günzburg, while at a Zionist congress in Vilnius. Günzburg advised that the boy be trained as a sculptor. Discrimination against Jews, compulsory military service and the twin booms of the Witwatersrand Gold Rush (1886), and Second Ostrich Boom (1860–1914) sparked emigration of Jewish families to South Africa. By 1909, only Joseph, Zirla and their three youngest children were left of the Kottler family in Russia. The rest had left for South Africa. Moses was sent to the Bezalel Academy of Art and Design in Jerusalem, to study under Boris Schatz.〔 Six months later, in 1910, the remaining family left for Oudtshoorn, South Africa.〔 Kottler's experience at the Bezalel School was a disappointment; he received no training in sculpture or painting at all. Instead, he used the time to train himself and started painting in oils during a visit to Tel Aviv. Little more than six months of training at Bezalel were enough to convince him to continue his studies at the Munich Art Academy. After submission of some drawings, he was accepted at the Academy, but unable to secure a place in the sculpture continued with drawing and painting. He had Carl Johann Becker-Gundahl and Hugo von Habermann as his professors.〔 Munich, in the years preceding the First World War, was the city of the Blaue Reiter, Wassily Kandinsky, Franz Marc, August Macke, Paul Klee and Alexej Jawlensky. Kottler had occasion to experience the work of these and other artists exhibiting in Europe's art second city. In the middle of 1913, Kottler left for the capital of European art: Paris. He took a room on the Rue Servandoni, near the church of St. Sulpice, with its murals by Eugène Delacroix. Later he would move to the Passage de Dantzig near La Ruche (the ''Beehive'') where artists like Marc Chagall, Jacques Lipchitz, Chaim Soutine and Ossip Zadkine stayed. He also befriended Chana Orloff, Henri Epstein and sculptor Josef Tchaikow. Nearby Montparnasse was the centre of the artistic world. During this time in Paris, he was greatly influenced by the works of Rodin and especially Maillol, whose studio he visited.〔 The outbreak of the First World War in August 1914 forced Kottler back to South Africa, settling in Oudtshoorn, where his extensive family now had farms and businesses. He occupied himself with his art on the farms Oude Muragie and Middelplaats, modelling and painting the rural population; producing 12 paintings and nine sculptures in the period 1915 to 1916. At least three sculptures and two paintings were shown at the exhibition of the South African Society of Artists in Cape Town on 10 April 1916, meeting with favourable responses from W. J. Makin, writing for the ''Cape Argus'', and Louis Herrman, writing for ''The Cape''.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Moses Kottler」の詳細全文を読む スポンサード リンク
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