Belarusian-Jewish in the context of "Chaïm Soutine"

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⭐ Core Definition: Belarusian-Jewish

The history of the Jews in Belarus begins as early as the 8th century. Jews lived in all parts of the lands of modern Belarus. In 1897, the Jewish population of Belarus reached 910,900, or 14.2% of the total population. Following the Polish-Soviet War (1919-1920), under the terms of the Treaty of Riga, Belarus was split into Eastern Belorussia (under Soviet occupation) and Western Belorussia (under Polish occupation), and causing 350,000-450,000 of the Jews to be governed by Poland. Prior to World War II, Jews were the third largest ethnic group in Belarus and comprised more than 40% of the urban population. The population of cities such as Minsk, Pinsk, Mogilev, Babruysk, Vitebsk, and Gomel was more than 50% Jewish. In 1926 and 1939 there were between 375,000 and 407,000 Jews in Belarus (Eastern Belorussia) or 6.7-8.2% of the total population. Following the Soviet annexation of Eastern Poland in 1939, including Western Belorussia, Belarus would again have 1,175,000 Jews within its borders, including 275,000 Jews from Poland, Ukraine, and elsewhere. It is estimated that up to 800,000 of 900,000 — up to 90% of the Jews of Belarus —were killed during the Holocaust. According to the 2019 Belarusian census, there were 13,705 self-identifying Jews in Belarus, of which most are of Ashkenazi origin. However, the Israeli embassy in Belarus claims to know about 30-50 thousand Belarusians with Jewish descent (as of 2017).

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👉 Belarusian-Jewish in the context of Chaïm Soutine

Chaïm Soutine (French: [ʃaim sutin]; Russian: Хаим Соломонович Сутин, romanizedKhaim Solomonovich Sutin; Yiddish: חײם סוטין, romanizedChaim Sutin; 13 January 1893 – 9 August 1943) was a French painter of Belarusian-Jewish origin of the School of Paris, who made a major contribution to the Expressionist movement while living and working in Paris.

Inspired by classic painting in the European tradition, exemplified by the works of Rembrandt, Chardin and Courbet, Soutine developed an individual style more concerned with shape, color, and texture than representation, which served as a bridge between more traditional approaches and the developing form of Abstract Expressionism.

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