Early Life, Family and Training

Moshe Mokady was born in 1902 in Tarnów, Poland, into a family headed by Abraham and Helena Brandstatter. His early years were shaped by the movement of his family across Europe, a transition that began in 1914 when they moved to Vienna. It was in this city that his formal relationship with the visual arts began to take shape. Between 1914 and 1916, he studied painting under the guidance of Lazar Krestin, absorbing the technical foundations that would support his later development.

The path of his education was not limited to the canvas. In 1916, Mokady moved to Zürich, shifting his focus toward the auditory. During his time there, he dedicated himself to the study of music and the piano. This period of musical training added a different dimension to his formative years, grounding his creative sensibilities in rhythm and sound before his life eventually led him toward the Mediterranean.

Artistic Education and Life in Europe

After moving from Vienna to Zürich to study music and the piano, Mokady’s path eventually led him back toward the visual arts. His family immigrated to Mandate Palestine in 1920, settling initially in Haifa. However, his formal training in painting took him back to Europe. Between 1922 and 1923, he studied at the Academy of Fine Arts Vienna, refining the technical skills that would define his early years.

The years between 1927 and 1933 were spent in Paris. This period was a time of continued study, as he immersed himself in the artistic environment of the city to further his understanding of painting. Living in Paris allowed him to develop his perspective before he eventually returned to the Middle East.

Career in Israel and Teaching

Upon returning to Mandate Palestine in 1933, Mokady began to shape the artistic landscape of his new home. He settled in Jerusalem and Tel Aviv, finding a place to share his technical knowledge with others. Between 1933 and 1935, he co-directed a school for drawing and painting in Jerusalem, helping to establish a foundation for local art education during a formative period for the region.

His influence grew as he moved into administrative roles that helped organize the country's cultural life. In 1949, he took on the responsibility of Director of the Art Department of the Ministry of Education and Culture. This position allowed him to oversee significant aspects of the nation's artistic direction during its early years of statehood.

Mokady's commitment to formal training led him to a long-standing leadership role in Tel Aviv. From 1952 to 1965, he served as the first Director of the Avni Institute of Painting and Sculpture. Through this institution, he helped guide generations of students in the development of their craft.

Theater Design and Major Awards

Between 1934 and 1958, Mokady’s creative vision extended beyond the canvas and into the physical space of the stage. He spent over two decades working as a stage designer, helping to shape the visual atmosphere for the Habimah, Cameri, and Ohel Theaters. This period of work required a different kind of spatial understanding, translating his aesthetic sensibilities into the temporary, living environments of the theater.

His contributions to Israeli art were frequently recognized through several prestigious honors. In 1935, he was awarded first prize for his design for the grave of Hayim Nahman Bialik. His talent for painting was also celebrated by the Dizengoff Prize, which he received in 1937, 1942, and 1951. These awards marked a significant presence in the local art scene during the mid-20th century.

Mokady's reputation eventually reached beyond the borders of Israel. In 1950, he traveled to the United States, where he received an award for the best painting at the Israeli Artist exhibition in Washington, D.C. This recognition highlighted the reach of his work during a formative era for the region's modern art.

International Recognition and Exhibitions

Mokady’s influence reached far beyond the borders of Israel, earning him a place on the international stage. He was chosen as one of three Israeli painters to represent his country at the Venice Biennale in 1952. His presence in Venice was not a one-time occurrence; he returned to represent Israel at the Biennale again in 1958. These appearances helped establish his presence within the broader European and international art circles.

Throughout his long career, Mokady held 38 solo exhibitions. These shows allowed the public to follow the evolution of his vision over several decades. His work was eventually given a significant retrospective at the Tel Aviv Museum of Art in 1999, offering a comprehensive look at the life he had built through his brush.

• Portrait (1930)

Later Years and Death

In 1965, Mokady moved to Ein Hod, a village he helped found. This community of artists provided a specific environment for his later years. He lived there until his death in 1975. His personal life during these decades included a marriage to Haddie, following a divorce from his first wife, Verem. Their family included two children, Michael and Nina, while his son, Refael, had passed away during the Six-Day War.

His presence in Ein Hod marked a significant chapter in his life, settling him in a place defined by its creative community. He remained part of this landscape until he died in the village in 1975. His life and work were later honored by a retrospective at the Tel Aviv Museum of Art in 1999.

Where to See the Works Today

His paintings can still be found in several important collections across Israel. The Israel Museum in Jerusalem holds his work titled Portrait, which dates from about 1930. Other pieces from his career are held in private collections, including an oil on canvas work from 1923-1924. His presence in the art world was also felt through major retrospectives that brought his life's work together for the public. The Haifa Museum of Art hosted a retrospective of his paintings in 1972, and the Tel Aviv Museum of Art held a similar large-scale exhibition in 1999.

The legacy of his visual language remains visible in works like Landscape of Tiberius and the Kinnereth, which was created between 1935 and 1939. These pieces offer a way to see how his style evolved from his early years in Europe to his settled life in Israel. While many of his works are held in permanent museum collections, others have appeared in various galleries and auctions over the decades, including the Gordon Gallery in Tel Aviv.