Phoenix Rising | The Resurrection of Grably's Searing Vision
Ehud Grably's first official Catalogue Raisonné represents a monumental effort to document and analyse the work of an artist who, despite his immense talent and unique vision, has remained largely overlooked in the annals of art history. This comprehensive examination of Grably's oeuvre from the late 1970s to the early 1990s not only sheds light on the artist's remarkable technical skill and philosophical depth but also serves as a compelling argument for his rightful place among the most significant artists of the late twentieth century. Born in Haifa, Israel, in 1961, Grably's artistic career was tragically cut short by his untimely death in 1994 at the age of 32. Despite this brevity, the catalogue reveals an artist of extraordinary precocity and prolific output. From his teenage years, Grably was already producing works of startling maturity and complexity, engaging with themes that would preoccupy him throughout his career, human suffering, identity, sexuality, and existential questioning. The catalogue meticulously traces Grably's artistic evolution, from his early expressionistic figurative works to his later, more abstract pieces. This progression is not merely stylistic but reflects a deepening engagement with philosophical and metaphysical concerns. Works such as “The Crucifixion” (1978) and “The Inferno” (1981) demonstrate Grably's ability to channel raw emotion and existential angst into powerful visual statements, even as a young artist.
One of the most striking aspects of Grably's work, as revealed in this catalogue, is his ability to synthesise diverse influences into a wholly original artistic voice. While echoes of artists like Pablo Picasso, Francis Bacon, and the German Expressionists can be discerned in his work, Grably's style remains distinctly his own. His “Homage to Salvador Dali” (1980) and “Homage to Leonardo da Vinci's Leda and the Swan” (1980) demonstrate not only his technical virtuosity but also his capacity to engage with and transform artistic traditions. The first part of the catalogue pays particular attention to Grably's “Out of the Shadows” series, a set of ten etchings created between 1980 and 1981. This series is presented as a pivotal moment in Grably's artistic development, showcasing his exploration of identity, sexuality, and the human psyche. The detailed analysis of each etching in the series provides insight into Grably's evolving artistic philosophy and his engagement with complex psychological and existential themes. A significant portion of the catalogue is dedicated to contextualising Grably's work within the broader landscape of late twentieth century art.
The authors argue convincingly that Grably's unique synthesis of international modernist influences with elements of Israeli cultural identity positions him as a crucial figure in the development of Israeli modernism. His work is presented as a bridge between local artistic traditions and global movements, challenging the often Euro-centric narratives of twentieth century art history. The catalogue also delves into the technical aspects of Grably's work, providing detailed information about his use of various media including oils, acrylics, pastels, etchings, and drawings. This technical analysis not only highlights Grably's versatility as an artist but also provides valuable insights into his creative process and artistic evolution.
One of the most poignant aspects of the catalogue is its exploration of Grably's personal life and its influence on his art. The analysis of “Best Friends” (1981), a portrait of Grably's close friend Doron Levitan, offers a touching glimpse into the artist's personal relationships and how they informed his work. The inclusion of excerpts from Levitan's eulogy for Grably adds a deeply human dimension to the catalogue, reminding readers of the personal tragedy behind Grably's untimely death. Perhaps the most significant contribution of this Catalogue Raisonné is its argument for a re-evaluation of Grably's place in art history. The authors make a compelling case that Grably's relative obscurity is a grave oversight, one that this catalogue aims to correct. They argue that Grably's work, with its unique synthesis of influences, technical mastery, and profound engagement with universal themes, deserves recognition alongside other major figures of late twentieth century art.
The catalogue's thorough documentation of Grably's work, including provenance, exhibition history, and detailed visual analysis, provides an invaluable resource for scholars, curators, and art enthusiasts. It sets a new standard for the study of Israeli art and challenges us to reconsider our understanding of global artistic movements in the late twentieth century. This first part of Ehud Grably's first official Catalogue Raisonné is more than just a comprehensive documentation of an artist's work. It is a passionate argument for the recognition of a forgotten master, a detailed exploration of a unique artistic vision, and a valuable contribution to our understanding of late twentieth century art. It invites us to discover the work of an extraordinary artist whose voice, silenced too soon, still resonates with profound truth and beauty. As such, it stands as a testament to the enduring power of art to transcend the boundaries of time, place, and recognition, speaking to us across the decades with undiminished force and relevance.