From time immemorial, paintings of flowers have served as a theme with which artists thoroughly enjoy indulging in; flowers as a theme contrasted with color and light or as an inanimate object in a wide-open space all encompassing.
When Bezalel Ben Uri constructed the Tabernacle, he worked on the seven-armed candelabrum opulent with flowers, symbolizing the earthly versus the spiritual gold, containing the infinite light.
For many Israeli artists, who for the most part arrived from countries with cold climates, the light of the Land of Israel was a source of difficulty and in the theme of flowers they found a corrective and balancing element between light and color. Flowers served as the bridge between the familiar colorfulness and the bright and blinding light that was new to these artists. Examples of this may be evidenced in the painting by Reuben Rubin ” Still-Life with Flowers (Anemones & Wheat Bouquet)”, in the work by Arie Aroch ” Interior with a Chair and a Table” and in the watercolor paintings by Anna Ticho and Yosef Zaritsky.
Later, when the artistic style developed into dismantling of forms – flower painting was influenced by this trend, too. Zvi Meirovich, for instance, contends with Cubist artwork through ” Red Flowers & An Old Glassware Vessel”, the flowers being transformed into an integral part of the background, dismantled, and assembled in a restructured form.
Yossel Bergner, representing Jewish surrealist art, employs the imagery of the lonely boy as representing the post-Holocaust scattered Jew. When he paints flowers they symbolize the new Jew, and the flower blossoming and blooming in rich colorfulness. The flowers symbolize a new, beautiful, and utopian world.