Rav Aharon Kotler

Rav Aaron Kotler (4)

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Rav Aharon Kotler

Rav AharonKotler was one of the very few Torah giants who contributed mightily to the transformation of the face of American Jewry in the middle of the twentieth century from one of Torah ignorance and mourning over the Holocaust to significant progress in Torah knowledge and partial recovery from the tragedy of the Holocaust. When he arrived in the United States in April of 1941, while the fire of Nazism was raging in Europe, he addressed an audience and that had came to onlyhelp save American Yidden.

He dedicated his life, night and day, to the building of Torah in America and by leadership of an organization called ChinuchAtzmai, Independent Torah Education, in Israel as well.

Known in his youth as the SvislovitzerIlui, the Torah prodigy from Svislovitz, his fame had spread throughout the Torah world of Lithuania, and he had risen to become the head of the Yeshiva of Kletsk. He considered the Vilna Gaon, an eighteenth century Torah genius of exceptional greatness, one of his spiritual mentors. He saw in the case of the Gaon a genuine Divine revelation. He became the son-in-law of Rav IsserZalman Meltzer, another great TalmidChacham, and they had mutual respect to a high degree.

He chose Lakewood, New Jersey, as the site for his new Yeshiva in America, because its location, far from the distractions of New York City, would enable his students to concentrate on their studies. The Yeshiva began very humbly; Rabbi Ezra Novick, one of the earliest students, reports that when he joined the Yeshiva, there were only three students. By the time Rav Aharon passed away, there were hundreds of talmidim, and they were beginning to have a major impact on Torah education in America.

Rav Aharon’s efforts ultimately made a deep imprint upon American Jewry. Many thousands received a solid Torah education in or because of the Lakewood Yeshiva and its many branches during its first fifty years.

Mikhail ChapiroBorn in 1938 in Belorussia, he was captivated by painting since his early childhood. Thanks to his teachers, Peter Chernyshevsky and Boris Zvenigorodsky, the artists of great experience and talent, this endowment became his predilection, the raison d’être of his life. After 6 years of studies, he graduated from the Mukhina Institute of Arts and Industrial Design. He worked as a stylist for 7 years in the capital of Siberia, city of Novosibirsk.

He moved to Moscow in 1974 and since 1977 till 1987 he regularly exhibited in the Russia’s famous underground avant-garde centre at Malaya Gruzinskaya 28, which in 1981 became the home of his solo exhibition. Only with Perestroyka he was widely recognized in Russia. From 1988 to 1990 his paintings were exhibited at the Muscovite Modern Art Gallery MARS.

He was recognized by the intellectual elite. Great Russian ballerina Maya Plesetskaya, 3-times Olympic Champion in figure ice-skating Irina Rodnina, Nobel Prize Laureates Academicians Sakharov, Frank, Prokhorov – those are just few of the most prominent people who knew Chapiro and whose portraits he did.

In 1990 Mikhail Chapiro immigrated to Canada. He settled in Toronto and immediately joined the city’s artistic life. The “Hittite Gallery” held his solo exhibition in 1992. In 1993, he moved to Montreal, being fascinated by the singular charm of this metropolis and its people. Being highly productive, Chapiro has constantly enriched his collection with fresh subjects. In 1996 he had a solo exhibition at the Elgar community center in Verdun (a Montreal district).

While Chapiro’s themes always remained portraits, landscapes, cityscapes, animals, and flowers, his style has gradually evolved from a merely realistic formalist expression towards an unique painting technique allowing to express at best the softness and subtlety that forms the bottom line of the artist’s philosophy. Mikhail Chapiro is, by his substance, perception of the world, and even training, is a figurative, objective, realistic painter. What characterizes his painting is softness, subtlety, implicitly.

However, in some works from different periods, he had come close- and still does so today- to abstraction: mostly with his nudes and flowers, sometimes in portraiture and landscapes. Abstract painting has always fascinated him: during his Moscovite period in the Eighties, he created series of abstract compositions, which he continued once in Canada, in both Toronto and Montreal.

The rationale behind his work, what triggered him is as it has always been, asking the “What?” question-that is, he needs unequivocally an idea fuelling his creativity.
What he tells with one or another abstract work may be philosophical reflections about life, death, the good, the bad, the passage of our soul from the material world (the life on Earth) into the thin world (the soul’s life in the Cosmos); the return of our soul into material world- a sort of an infinite transfiguration-, and so on. It’s only then that he would care about the composition, texture, color, etc.

Abstract painting is for him the most interesting experiment, one of his art’s facets. Whether his paintings are realistic or abstract, his approach is equally sincere.