A life between stages and canvases

Emanuel Luftglas began his path in Hochnia, Poland. At thirteen, a German art patron noticed his early paintings and convinced his parents to let him move to Germany for his education. He studied at the art school in Leipzig and later focused on theatrical design at the Buxtehude School. By nineteen, he had secured his first professional contract with the Royal Opera House in Hamburg. His years in Germany were marked by work for the Hamburg Municipal Theatre and the opera, establishing a foundation in the technical demands of the stage.

In 1926, he moved to Palestine, settling in Tel Aviv. He often used the name Emanueli during this period. This transition brought him into the heart of a growing theatrical scene. He joined the troupe that founded the Israel Artistic Theatre and later became a permanent figure for the Matate Theatre. For many years, he was the only professional set designer working in the region. His hands shaped the visual world of the Ohel Theatre and the Habimah National Theatre, where he introduced technical innovations like revolving stages and the use of film projections and slides on stage.

The search for light and technique

While his work on the stage was defined by movement and scale, his paintings sought a different kind of stillness. He found himself drawn to the landscapes of the land and scenes from the Bible. To capture the specific atmosphere he perceived in these subjects, he looked backward to the Renaissance. He became deeply interested in the oil painting techniques used by the Flemish masters, specifically the Van Eyck brothers. He spent years experimenting with these methods to find a way to render delicate palettes and soft tones through layers of oil.

His study of the past was not merely academic; it was a practical pursuit of clarity. He worked to uncover the secrets of the Van Eyck guild, focusing on how their process could bring out subtle light. This research eventually took the form of a manuscript titled Van-Eyck und Vasari - Im Lichte Neuer Tatsachen. Though he died before he could see it published, his daughter and widow released the book in German after his death. His studio held hundreds of sketches in watercolor and pastel, alongside many oil paintings that reflected this lifelong technical inquiry.

A legacy left in sketches and oil

The work of Emanuel Luftglas remains spread across various collections and archives. His theatrical sketches and designs are held in places such as the Israel Museum in Jerusalem, Beit HaBimah, and the Beit HaOmanim in Tel Aviv. These papers offer a glimpse into the visual architecture of the early Israeli stage. His oil paintings have been shown in exhibitions at the Alcharizi Pavilion and other galleries, presenting the landscapes and biblical themes he pursued until his death in 1958.

• Primary roles: Painter, stage designer, set designer, and art teacher.
• Key locations of work: Hamburg, Germany; Tel Aviv, Israel.
• Technical focus: Van Eyck oil painting techniques and theatrical innovation.