{"id":2108,"date":"2024-12-03T13:49:04","date_gmt":"2024-12-03T18:49:04","guid":{"rendered":"https:\/\/web.colby.edu\/ben-shahn\/?page_id=2108"},"modified":"2024-12-05T13:00:43","modified_gmt":"2024-12-05T18:00:43","slug":"children-and-god-b2","status":"publish","type":"page","link":"https:\/\/web.colby.edu\/ben-shahn\/children-and-god-b2\/","title":{"rendered":"Children and God b2"},"content":{"rendered":"
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Ben Shahn\u2019s Children and God<\/em>: Reflections on Spirituality and Shared Humanity<\/strong><\/h2>\n

Noam Reinhorn<\/h3>\n<\/div>\n<\/div>\n
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\"Ben
Ben Shahn, Children and God, cover. Colby College Museum of Art, Waterville, Maine (photo: V\u00e9ronique Plesch).<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n
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Introduction<\/strong><\/div>\n
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Children and God<\/em>, in accordion format with flat-laying board panels that measure 9.25 by 10.5 inches, contains a page of text and four images, one in black and white, three in watercolor and gouache. Its creation date is unknown. Unlike the other maquettes in the Colby College Museum of Art, there is no trade edition of the book. Abby Shahn believes that it is very likely that her father was planning to publish it. Shahn\u2019s health started declining in 1967 and he died in March 1969 (Greenfield 318), so we can imagine that Children and God <\/em>was created in the mid-1960s, perhaps one of Shahn\u2019s last artistic endeavors, created shortly before his death. The book bears witness to Shahn\u2019s friendship with pioneer sound archivist Tony Schwartz (1923\u20132008) and draws from interviews that Schwartz had conducted with children.<\/div>\n<\/div>\n
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Shahn in the 1960s<\/strong><\/div>\n<\/div>\n
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Ben Shahn, Psalms 133, 1963. Lithograph. Whitney Museum of Art, New York City.<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n
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During the 1960s, Ben Shahn experienced a significant evolution in his artistic endeavors and personal introspection. Bernarda Bryson Shahn writes in the introduction to Hallelujah<\/em> that Shahn was able to return \u201cfreely\u201d to the \u201creligious ties and traditions\u201d of his youth \u201cwithout the sense of moral burden and entrapment\u201d (Bryson Shahn, \u201cIntroduction\u201d 1). The introspective focus of his later career is reflected in his 1963 lithograph of Psalm 133<\/em>, where Shahn explores spiritual and existential themes by giving visual form to the Psalms\u2019 poetic and deeply human qualities. His vibrant colors, bold lines, and expressive typography convey emotional significance, emphasizing the joy of living together in unity. Psalm 133 <\/em>blends modernist aesthetics with traditional subject matter, bridging contemporary art with timeless spirituality. Shahn employs a symbolic language that draws from both his Jewish heritage and broader humanist themes.<\/p>\n

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Ben Shahn, Martin Luther King, cover for Time Magazine, March 19, 1965.<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n<\/div>\n
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Despite this introspective turn, Shahn remained deeply committed to social commentary and activism. His 1965 portrait of Martin Luther King Jr. for the cover of Time<\/em> magazine demonstrates his belief in art as a force for social change, addressing issues of human suffering and oppression. Similarly, Children and God<\/em> reflects Shahn\u2019s evolving desire to capture unfiltered perspectives, this time through the voices of children. This project aligns with his rejection of labels, as he stated in 1966: \u201cI am a human artist. I don\u2019t like categorization in groups\u201d (Kirshenblatt-Gimblett 202). Shahn\u2019s mindset, rooted in breaking free from societal constraints, influenced his approach to Children and God<\/em>, in which he explores spirituality as a shared human experience rather than one tied to specific cultural or religious traditions. By focusing on children\u2019s candid reflections, Shahn blends his activism with the introspection that he experienced later in life, creating a work that bridges social engagement with personal exploration of universal themes.<\/p>\n

Ben Shahn and Tony Schwartz<\/strong><\/p>\n<\/div>\n

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Tony Schwartz, Letter to Ben Shahn (Archives of American Art).<\/figcaption><\/figure>\n<\/div>\n
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Cover of Tony Schwartz, A Popular Photography Presentation: Tony Schwartz on How to Record the Sound of Children. Capital Custom, 1967 (source: Continuo).<\/figcaption><\/figure>\n<\/div>\n
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Back of Tony Schwartz, A Popular Photography Presentation: Tony Schwartz on How to Record the Sound of Children. Capital Custom, 1967 (source: Continuo).<\/figcaption><\/figure>\n<\/div>\n
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Collaboration between Ben Shahn and Tony Schwartz was pivotal in shaping Children and God<\/em>. Abby Shahn remembers the two men\u2019s relationship, which extended beyond a professional engagement to a personal friendship. Ben Shahn\u2019s papers in the Archives of American Art hold a letter that Tony Schwartz sent Shahn along with transcripts of some of the interviews he had conducted with children on the topic of \u201cChildren and God.\u201d Referring to a record which came out in 1967, Schwartz explains that these \u201care some statements of children not on the record but extremely colorful\u201d (Archives of American Art and Schwartz).<\/p>\n

Shahn and Shwartz\u2019s collaboration was defined by mutual respect: Schwartz\u2019s recordings offered an unfiltered glimpse into children\u2019s spirituality, and Shahn sought to free the children\u2019s voices from any imposed narrative, allowing their reflections to speak for themselves and given their voices a visual dimension that honored their simplicity. In the maquette, Shahn strives to preserve children\u2019s authenticity by using the exact words of eight children while arranging the quotes to create a compelling narrative.<\/p>\n

Analysis of the Maquette<\/strong><\/p>\n<\/div>\n<\/div>\n

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Ben Shahn, Children and God, p. 1. Colby College Museum of Art, Waterville, Maine (photo: V\u00e9ronique Plesch).<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n
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Ancient Roman Inscription, Dougga (photo: Wikimedia Commons).<\/figcaption><\/figure>\n<\/div>\n
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The bold text painted in black that appears on the cover has an unrefined quality, reminiscent of a child\u2019s writing. It conveys the sincerity and spontaneity of children\u2019s voices. The informal lettering establishes an immediate visual connection with the book\u2019s central theme, signaling to the viewer that what lies within are the unfiltered views of children. Moving beyond the cover page, the reader is greeted with the only page of text in the book. The text\u2019s placement on the page as a single paragraph resembles Ancient Roman transcriptions carved in stone. The page is densely filled with eight quotes from children, separated not by traditional punctuation, but by a golden star. This deliberate approach reflects Shahn\u2019s mastery in his handling of letterforms. Bernarda Shahn notes that he \u201chad to learn to space\u2014the ultimate test of a letterer\u201d (Bryson Shahn, Ben Shahn and Lettering\u201d 90), underscoring the careful intention behind the design.<\/p>\n<\/div>\n<\/div>\n

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Ben Shahn, Children and God, p. 2. Colby College Museum of Art, Waterville, Maine (photo: V\u00e9ronique Plesch).<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n<\/div>\n
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The text\u2019s layout has a playful quality, reflecting the spontaneous nature of children\u2019s imagination. The stars convey a sense of wonder and align with the theme of exploring divine concepts through children\u2019s eyes. Shahn\u2019s meticulous efforts to replicate the original words and phrasing of the children reinforce their authenticity. With this page layout, Shahn places the children\u2019s reflections at the forefront, allowing their pure and unmediated views on spirituality to guide the reader through the book\u2019s visual narrative.<\/p>\n<\/div>\n<\/div>\n

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Ben Shahn, Children and God, p. 3. Colby College Museum of Art, Waterville, Maine (photo: V\u00e9ronique Plesch).<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n
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Ben Shahn, Children and God, p. 4. Colby College Museum of Art, Waterville, Maine (photo: V\u00e9ronique Plesch).<\/i><\/i><\/figcaption><\/figure>\n<\/div>\n
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We next encounter an illustration of a child in a contemplative pose drawn in black brushstrokes. The simple lines and minimal details invite viewers to connect with the figure whose gender remains unclear. The top of the child\u2019s head is left unfinished, suggesting openness, vulnerability and susceptibility to external influences.<\/p>\n

After this black-and-white figurative depiction, page three introduces a more abstract design, in which a face appears amid swirling lines and star that evoke a cosmic presence. The fluidity within the composition conveys expansiveness and boundlessness, reinforcing ideas of God as a limitless force, an idea that the children echo one after another. The golden stars recall those in the text and establish a consistent visual language that suggests the divine throughout. This idea of God as a boundless force aligns with the concept of a higher power that transcends cultural boundaries, much like the portrayal found in Deutero-Isaiah, a text that Shahn may have been familiar with. In these writings, God is depicted as the creator of the entire universe, a common figure for all of humanity. Julian Morgenstern, a prominent American rabbi and biblical scholar, highlights that Deutero-Isaiah emphasized God as \u201cthe Universal God, and only secondarily, as an act of choice by Him, did He enter into a particularistic relation with Israel\u201d (Morgenstern 271). This vision of a universal God, who is a god to all people, echoes throughout Shahn\u2019s book, which does not focus on a specific religion but instead presents God as an idea that unites. By focusing on God rather than one religious doctrine, Shahn invites readers to see divinity as a shared human experience, accessible and relatable to all, regardless of individual beliefs or cultural backgrounds\u2014or even of age.<\/p>\n

Shahn\u2019s next illustration introduces an atomic dimension to his depictions of God. As an artist in the Atomic Age, Shahn was an active voice in peace movements following World War II, particularly advocating against nuclear weapons. His work often depicted scientists, victims, and atoms, reflecting his engagement with themes of human vulnerability and scientific discovery (Katzman 221). The depiction of atoms and molecules in Children and Go<\/em>d is not a novelty but a recurring theme throughout Shahn\u2019s career. In Lute and Molecules<\/a><\/em>, Shahn juxtaposes a musical instrument with elements that closely resemble those found on page four image of Children and God<\/em>, this time combined with a stylized sun with radiating lines, which suggest a relationship between the spiritual and physical realms, hinting at divinity as a life-giving and unifying force. By incorporating atomic and molecular imagery, Shahn suggests that God\u2019s presence permeates human existence, emphasizing a collective connection that transcends individual lives and binds humanity together.<\/p>\n<\/div>\n<\/div>\n

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Final Thoughts<\/strong><\/p>\n

The last page of Children and God<\/em> repeats that sun, this time illuminating a landscape of verdant trees, symbolizing growth and vitality. The contrast between the warm sun and rich greens and blues conveys the developing aspect of creation. Shahn\u2019s use of the sun as a recurring motif reinforces the idea of God as a life-giving force. Through this imagery, Shahn presents God not as tied to a specific religion but as a universal creator, sustaining life and uniting all humanity\u2014a reflection of the children\u2019s descriptions of God as a nurturing and boundless presence. In the interviews, the children frequently mentioned God\u2019s role in encouraging them and the natural world, highlighting their innocent perception of God as a caring force that is both protective and creative. This concluding image encapsulates Shahn\u2019s vision of a world where divinity is a shared experience, transcending individual belief systems and offering a common ground for all. Children and God<\/em> ultimately testifies to the idea that spirituality, creativity, and innocence can connect people across boundaries, encouraging readers to come together.<\/p>\n

Sources Cited<\/strong>Alley, Ronald, Catalogue of the Tate Gallery\u2019s Collection of Modern Art other than Works by British Artists<\/em>, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.686<\/p>\n

Archives of American Art, Ben Shahn Papers, 1879\u20131990, bulk 1933 \u2013 1970, Box 34, Folder 29: \u201cChildren of God\u201d (interviews of children) by Tony Schwartz, circa 1955. https:\/\/www.aaa.si.edu\/collections\/ben-shahn-papers-6935\/series-10\/box-34-folder-29<\/a> [accessed 27 November 2024].<\/p>\n

Bryson Shahn, Bernarda. \u201cBen Shahn and Lettering.\u201d The Penrose Graphic Arts International Annual<\/em> 66 (1973): 89\u2013100.<\/p>\n

Bryson Shahn Bernarda. \u201cIntroduction.\u201d In Ben Shahn, Hallelujah: Twenty-Four Lithographs<\/em>. New York: Kennedy Graphics, Division of Kennedy Galleries, 1970. 1-2<\/p>\n

Continuo. \u201cTony Schwartz \u2018The Sound of Children.\u2019\u201d 6 April 2009.https:\/\/continuo.wordpress.com\/2009\/04\/06\/tony-schwartz-the-sound-of-children\/<\/a> [accessed 27 November 2024].<\/p>\n

Greenfield, Howard. Ben Shahn: An Artist\u2019s Life<\/em>. New York: Random House, 1999.<\/p>\n

Katzman, Laura, <\/em>Beatriz Cordero Mart\u00edn, Christof Decker, and John Fagg. Ben Shahn: On Nonconformity<\/em>. <\/strong>Madrid: Museo Nacional Centro de Arte Reina Sof\u00eda, 2023.<\/p>\n

Kirshenblatt-Gimblett, Barbara and Jonathan Karp, eds. The Art of Being Jewish in Modern Times.<\/em> Philadelphia: University of Pennsylvania Press, 2008.<\/p>\n

Morgenstern, Julian. \u201cDeutero-Isaiah\u2019s Terminology for \u2018Universal God.\u2019\u201d Journal of Biblical Literature<\/em> 62.4 (1943): 269\u201380.<\/p>\n

Schwartz, Tony. \u201cChildren and God.\u201d A Popular Photography Presentation: Tony Schwartz on How to Record the Sound of Children.<\/em> Capital Custom, 1967. https:\/\/www.youtube.com\/watch?v=pJS9HdbJYX0<\/a> [accessed 27 November 2024]. Reissued in<\/p>\n

Tony Schwartz Records the Sounds of Children<\/em>. Washington, D.C.: Folkways Records 1970.<\/p>\n<\/div>\n<\/div>\n\n

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Ben Shahn\u2019s Children and God: Reflections on Spirituality and Shared Humanity Noam Reinhorn   Introduction   Children and God, in accordion format with flat-laying board panels that measure 9.25 by 10.5 inches, contains a page of text and four images, one in black and white, three in watercolor and gouache. Its creation date is unknown. Unlike […]<\/p>\n","protected":false},"author":2310,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"builder_content":"","_links":{"self":[{"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/pages\/2108"}],"collection":[{"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/users\/2310"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/comments?post=2108"}],"version-history":[{"count":16,"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/pages\/2108\/revisions"}],"predecessor-version":[{"id":2917,"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/pages\/2108\/revisions\/2917"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ben-shahn\/wp-json\/wp\/v2\/media?parent=2108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}