Eliahu Gat (; 1919–1987) was an Israeli landscape painter.
Biography Eliahu Gulkowitz (later Gat) was born in 1919 in the small town of Dokshitz in what is now Belarus, to a Lithuanian Jewish Zionist family. In 1926, the family resettled in Poland, where Gat attended a Polish gymnasium. In 1937, he immigrated to Mandate Palestine and studied architecture at the Technion in Haifa. From 1939 to 1942, he joined Kibbutz Nir Haim and Maoz Haim. During this period, he also worked as a dockhand and seaman in Haifa port. In 1942, he joined the British Army, serving in Palestine and North Africa until 1946. In 1945, while still a soldier, he studied for a year at Aharon Avni's painting studio. When he was transferred to Cairo, he enrolled in the Cairo Academy of Art, taking courses sponsored by the British Army. After his discharge, he painted at the Stematsky–Streichman studio. In 1948–1949, he served in the Israel Defense Forces.
Artistic career Gat was among the founders of the Group of Ten, which held its first exhibition in February 1951 at Beit HaOmanim in Tel Aviv, home of the Israeli Artists' Association. The group consisted of Gat, Elhanan Halperin, Shoshanah Levisohn, Ephraim Lifshits, Moshe Propes, Shimon Zabar, Dan Kedar, Claire Yaniv, Nissan Rilov and Zvi Tadmor—all graduates of the Stematsky–Streichman studio. The two participating sculptors were Shoshanah Heiman and David Polombo. The philosophy of the group was to paint the local Israeli scene realistically, as opposed to the abstract art and universalism of the New Horizons group.Information Center for Israeli Art: Eliahu Gat
Influences In 1952, Gat traveled to France on a government grant. He studied at the École nationale supérieure des Beaux-Arts under Souverbie, together with Michael Gross and Ori Reisman. Gat's letters from his sojourn in Paris testify to his artistic confusion and to his spiritual and physical tribulations: he said, “I thought I would paint a little in the evenings and bought a blue lamp, but so far I haven’t succeeded. You can understand the difficulties, after a day’s work, and especially in a room with no atmosphere, in addition to the confusion I feel about painting in general.” The artists he mentions in his letters, though notably disparate in style and approach, represent the divergences that were to mark Gat's own work in the future. He admired Bernard Buffet, a young artist who was then enjoying social and artistic success in Paris: Gat said, “By the way, Buffet is head and shoulders above everyone else. His exhibition was very impressive and he already has a following.” Another artist mentioned by Gat was Chaïm Soutine: Gat said, “Soutine, in terms of stature, is fit to stand side by side with the great classicists. . . . Mourjansky has promised me to Katia Granoff so that I can view fifteen Soutines. He is one of the artists I understand the least, but who impresses me the most. By the way, Israeli art suffers from Soutinism, but not of the healthy kind.” A trip to Spain and a visit to the Prado yielded the following impressions: “You walk round and round and each painting is better than the last. I could stay here for months and study. What a lightness of touch there is in the colour handling of Titian and Tintoretto; it is practically a sketch, and yet it is so deep. Some works could even be called Titian Impressionism—brushwork and light translucent layers of paint.” Gat's interest in Soutine and in the free impressionist approach of the venetian artists serves as an indication of his future artistic direction.
“The Group of Ten” exhibitions / realism In April 1953, Gat, together with others of the "Group of Ten” participated in an exhibition of drawings by young artists at the Tel Aviv Museum, and in the summer of 1953 the members of the group held an exhibition at the artists’ house in Tel Aviv. They were then called The Group of Nine. The group's image was then defined by its penchant for realism and by its self-presentation as an antithesis to ‘all for modernism,’ ‘abstractionism’ and ‘universalim in art’. “One of the “Nine” published an open letter in the press to the effect that “we are all committed to the idea that the way to achievement is through the adherence to reality, i.e., to our daily life in Eretz Israel. . . . We have floated in the heavens of so-called modernism (which is no longer modern anyway) and we are returning to the palpable earth.” The writer attacks the abstract: “An unhealthy atmosphere has pervaded many of our art circles, and escape from the real into the abstract and the cosmopolitan by obliterating any identifying feature of time or place . . . to adhere to that trend here in this country and in these times of acute social crisis is merely to copy obsolete things from an alien reality.” On formalism he says: “Our problems are not of creating forms, but of giving shape to a particular content. . . . We belong to this land, and we love it for better or worse. Why should we distort the image of the people we see and live with. . . . Why should we make mathematical calculations or formal trickery out of our landscape, cities, villages or maabarot, when they are of profound significance in their realistic forms?” The article was written from a distinctly class-conscious viewpoint: “The time has come to pay our debt to society, to transform art from a luxury, snob-value item for the elite, to a product for the masses. It is time for labourers, farmers and people of all social strata to come to a painting exhibition and like what they see and feel that it belongs to them.”
The writer concludes by opposing “New Horizons” and the “Group of Nine”: “Should you parachute a person into a ‘New Horizons’ exhibition, he would not know which country he had fallen into, nor the period of its art. Undefined and cosmopolitan, the works float beyond time and place, beyond life's problems.”
Artistic style Gat was enamoured of colours containing “Oriental” characteristics such as is prominent in Islamic decorative art. In the years following, though he continued to show his work in the exhibitions of the Group of Ten, his paintings became dark and monochromatic, composed of controlled light and dark contrasts. The forms were then delineated by heavy contour lines, and the composition was based on a plastic rhyming of lines and a repetition of vectors. Lines used in two planes, unifying near and far, emphasized the flatness of the depicted space. The artist tended toward a treatment of architectonic themes, such as the facades or roofs of houses, and, as strange as this may seem in light of the group’s ideology, his paintings became increasingly stylized and abstract. One influence in evidence is Gat's architectural background. Another is that of the French painter Souverbie, under whom he studied.
The transformation apparent in Gat's work during these years is better understood against the background of the shift in the attitude to abstractionism and modernism in the mid-1950s. The leftist ideology, which at the beginning of decade had preached an art engage, adherence to realism and a non-elitist and non-individualistic approach, lost much of its vitality (among other things due to the change in relationship of the "Progressive Culture" circle to the Soviet Union and the 1954 split in Mapam). A greater number of Israelis, including artists, traveled to Europe where they witnessed the popularity of abstract art. Art criticism and polemics, which now began to filter in from the West with greater frequency via journals and visiting art critics, reinforced this notion, The charisma of "New Horizons was such that from an oppositional fighting force in the early fifties it had evolved into an influential group not unpopular with the art establishment. With this in mind, the course of artists who began as realists but who, by the end of the 1950s, went over to the abstract, is more intelligible. The last exhibition of the Group of Ten took place in 1960 at the Tel Aviv Museum.
Abstract Art / "Tazpit" Gat's abstract painting from 1961/2 constitutes a sharp, unequivocal stylistic turnabout, an open departure from his work of the immediate past. He began experimenting with aquarelles on paper, based on random dabbing, a liquid effect and the spraying of paint. The compositions lack definite direction and have no reference to up, down, right or left. The only figurative notation is the existence of a central area, more intensive in relation to the periphery in terms of colour. The degree of abstraction in these paintings is greater than that achieved by many veteran Israeli abstractionists. The last works of this phase contain geometric forms reminiscent of rows of houses. In the same period Gat joined various organizations of abstract painters, the most important of which was that resulting in the "Tazpit" exhibition (Israeli painting and sculpture) at the Tel Aviv Museum in 1964. The "Tazpit" exhibition was born of a feeling that abstract artists lacked a central exhibition space in which to show their works. Among its initiators were artists who had recently returned to the country (Yigael Tumarkin), members of "New Horizons," members of the "Group of Ten" who had gone over to abstract art and others. The exhibition manifest challenged "the use of external impressions and an external depiction of objects and figures." It declared that "the obscuring of values, the 'return' to folkloristic localism, and the so-called hankering after 'Israeliness' would create a counter group of artists who, in contrast to nostalgic, touristic exotica and commercializing of Jewish consciousness, would search for pure plastic values appropriate to our times."
The paintings Gat showed in "Tazpit" were a first stage in his return to the figurative. Already in 1963, he exhibited what were called "abstract landscapes" at the Dugit Gallery in Tel Aviv. In them, the line of the horizon was very high or even absent (landscape without sky). Most of the paintings were inspired by Ein Kerem and Safed, arid landscapes penetrated here and there by paths which dictate the pictorial rhythm. Their texture is rich despite their predominantly monochromatic colour. The landscape becomes part of an encompassing form which, rather than relate to a particular subject, reconstructs nature. Its details become colour happenings, sprouting organically out of the paint. The different patches of the painting carry equal weight and project a uniform energy, a pictorial translation of the mountain's burning haze. The brushwork, applied in a wide smooth sweep or in short rhythmic dabs' provides the direction, kneads the material texture and creates the forms, all at the same time. At some points paint has been sprayed in a fashion similar to that in the abstract aquarelles, and spontaneous colour patches are added to the hasty weave of the brush, to create a vibrating, glowing and sensual texture of paint and earth. The technical and formal lessons of abstract painting, the result of many years of drawing in nature, to create a unity of feeling, painting and landscape painting. The critics (Yoav Bar El, Ha'aretz), evaluating these works' found in them distinctive local values, and an "explicit Israeli identity, the peace and dusty quiet of the country's landscape, " in the nature depictions. This phase in Gat's work, which continued until the late 1960s, gave expression to his deep need to combine the spontaneous, based on an "erotic" identification with the subject, with a controlled composition created from an accumulation of technical information, from a vocabulary comprising brushwork and colour combinations.