What Do Artists Usually Use With Pigments?

Dry pigment is the starting point for many kinds of paint. On its own, a pigment is simply a finely ground colored substance. To turn that powder into something that can be brushed, poured, spread, or drawn onto a surface, artists mix it with a binder.

The choice of binder determines almost everything about the resulting paint: how it flows, how transparent or opaque it is, how quickly it dries, how it feels on the surface, and how permanent it will be.

There isn't one universal binder. Different traditions have developed different ways of turning pigment into paint.

What is a pigment?

A pigment is a finely ground material that provides color. It can be:

  • Mineral — ochres, earths, ultramarine, azurite

  • Synthetic — many modern inorganic and organic pigments

  • Plant-derived — indigo and other historical colorants

  • Animal-derived — some historical pigments and lakes

  • Carbon-based — charcoal, lamp black, bone black

Pigment particles don't normally form a usable paint by themselves. They need something to hold them together and make them adhere to the surface.

That something is the binder.

The main binders artists use

1. Linseed oil — oil paint

One of the best-known pigment binders is linseed oil, pressed from flax seeds.

Mixing pigment with drying oil produces oil paint.

Oil paint is valued for its rich color, long working time, transparency, depth, and ability to create both extremely thin glazes and thick impasto.

Artists traditionally grind the pigment and oil together on a glass slab with a glass muller, gradually incorporating the oil until the desired consistency is reached.

Linseed oil is particularly interesting because it is a drying oil. It doesn't simply evaporate. It reacts with oxygen and gradually forms a solid film around the pigment.

Best suited to:

  • Canvas

  • Wood panels

  • Properly prepared supports

  • Traditional oil painting

  • Rich, saturated color

Important: Oil paint isn't normally applied directly to raw paper. The oil can penetrate the paper and eventually contribute to deterioration. If you want to work with oil on paper, the support needs to be appropriately prepared or a suitable oil-painting paper should be used.

2. Gum arabic — watercolor and gouache

Gum arabic is one of the classic binders for water-based pigment paints.

It is a natural gum obtained primarily from acacia trees. Artists dissolve it in water and combine it with pigment to produce watercolor.

It creates a very different kind of paint from oil.

The resulting color can be transparent, fluid, luminous, and highly responsive to water.

This is particularly beautiful with pigments such as indigo, where the movement of water can become part of the artwork.

Best suited to:

  • Paper

  • Watercolor

  • Ink-like washes

  • Transparent painting

  • Fluid gestures

One limitation is that gum-arabic paint can generally be reactivated with water. It isn't the same thing as a waterproof acrylic film.

3. Egg yolk — egg tempera

Before modern acrylics and many modern oil-painting materials, artists had another remarkably effective binder available: egg.

The yolk of an egg contains proteins and fats that can bind pigment into a durable paint.

This is called egg tempera.

Egg tempera dries relatively quickly and produces a distinctive matte, luminous surface. It was widely used in European painting before oil painting became dominant.

Best suited to:

  • Wood panels

  • Fine detail

  • Layered painting

  • Traditional techniques

  • Matte surfaces

It behaves very differently from oil: rather than remaining wet and blendable for a long time, tempera dries relatively quickly and is generally built up in successive layers.

4. Acrylic polymer — acrylic paint

Modern artists can also mix pigments with an acrylic polymer emulsion.

This is essentially the technology behind acrylic paint.

The pigment is dispersed into an acrylic binder, producing a paint that dries relatively quickly into a flexible polymer film.

Acrylic can be made in many consistencies, from thick body paint to extremely fluid formulations.

Best suited to:

  • Paper

  • Canvas

  • Wood

  • Large-scale painting

  • Fluid gestures

  • Contemporary painting

For artists who want the fluidity of ink but the permanence of a paint film, a fluid acrylic binder can be particularly useful.

5. Casein — milk-protein paint

Casein is a protein found in milk and has also been used as a traditional paint binder.

Casein paint dries to a relatively matte, hard surface and can produce beautiful, slightly chalky colors.

It has been used on panels, walls, paper, and other supports.

It sits somewhere between traditional and modern painting materials and can be particularly interesting for artists who want a matte surface rather than the glossy film associated with some oils and acrylics.

6. Animal glue and distemper

Animal glues such as hide glue have also been used as binders for pigments.

Traditional glue paints and distemper were used for decorative painting, murals, theater scenery, and other applications.

These materials are historically important, although they are generally more sensitive to moisture than modern acrylic systems.

7. Wax — encaustic

Pigment can also be suspended in wax.

This produces encaustic paint, traditionally made using beeswax.

The pigment is mixed with wax and applied while warm. Once cooled, the paint becomes a solid wax-based layer.

Encaustic produces a distinctive surface with depth, translucency, and texture.

Best suited to:

  • Rigid panels

  • Layered surfaces

  • Sculptural painting

  • Textural work

It isn't generally the first choice for raw paper.

So what should you mix with your pigment?

The simplest way to think about it is:

Pigment + binder = paint

The binder determines the type of paint:

Pigment + linseed oil = oil paint
Pigment + gum arabic = watercolor
Pigment + egg yolk = egg tempera
Pigment + acrylic polymer = acrylic paint
Pigment + wax = encaustic

That's the fundamental principle.

When the Klan Looks Like BDS: A New Look at Philip Guston

I love Philip Guston.

I love the pink, the funny, the tragic. The clocks, the heads, the shoes, the cigarettes, the poetic, the cars. I love how he could make something look ridiculous and mythological at the same time.

And until today, I had no idea he was Jewish.

Before Oct. 7, I thought systematic Jew-hatred was a thing of the past. Now, I find myself counting—which of my favorite artists are Jewish?

Not because I think Guston’s identity should explain his work, but because suddenly, I am looking at a painter I already love and know through a completely new lens.

Ten years ago, I spent a week in Venice going to his show over and over again, every day. It was the single best show I had seen in my adult life. Nothing has touched me so deeply since. His Jewishness wasn't on my mind then; I was just admiring his black sea and his use of pink.

Guston was born Phillip Goldstein, the son of Jewish immigrants who had fled Odessa. He later changed his surname to Guston. And in an age when Jewish artists are being boycotted again, his story bears a whole new meaning.

Guston’s hooded figures are about the Ku Klux Klan, racism, and American violence. But they are also absurd. They sit in cars, smoke cigarettes, gather in groups. They look like minions from a dark comic strip.

The Klan in his work is exactly like today’s BDS movement.

Guston experienced the same bigotry back then—they boycotted Jews from universities, from city halls, from public life. Looking at people I know now who subscribe to BDS, the paintings suddenly felt different. This is not symbolism; this is advocacy. He probably knew people back then who thought the KKK was virtuous.

Here was a Jewish American artist painting the very image of white supremacist hatred. The hood becomes more than a symbol of someone else’s evil. It becomes a way of asking the spectator: *Do you agree with what they are doing? Are you like them? Will you hurt me? Will you save me?* These are questions every Jewish person asks themselves today.

It makes the paintings feel so much more intimate.

He was painting them to confront the demons. To mock them. To be less scared of them.

The absurdity is a way to deal with the horror

The Klansmen are not grand, terrifying monsters. They are ridiculous. They look like ordinary men going about their business.

That, to me, is part of what makes the paintings so powerful.

Guston strips away the theatricality of evil. He makes it banal and pathetic. The figures are capable of terrible things, but they are also just sitting around, smoking, driving, existing. Just like the BDS movement today. People I’ve known for years have seamlessly morphed into a modern-day Klan, normalizing hate in our public spaces.

The paintings seem to ask: *What does evil look like when it becomes ordinary?* That is exactly the chilling feeling I have looking at the people around me right now, going to BDS events, thinking they've found something new.

I don't want to reduce Guston to his Jewishness. I don't want to look at every painting and search for a hidden biographical explanation.

But I do want to let this discovery deepen my looking.

I feel less alone in this situation. Knowing he navigated the exact same darkness is amazing. We Jews stand on the shoulders of giants, and he is definitely one of them.

And honestly, I feel honored to be part of his tribe.

Major Art Spots in the South of France: From Spain to Italy

The South of France is home to some of Europe’s most important art museums, contemporary art foundations, artist-linked towns, and cultural landmarks. From Montpellier and Sète to Marseille, Porquerolles, Nice, and Menton, the region offers an extraordinary concentration of art and artistic heritage.

Major Art Spots from Spain to Italy

  1. Montpellier — Musée Fabre, MO.CO., La Panacée

  2. Sète — Musée Paul Valéry

  3. Arles — Fondation Vincent van Gogh, LUMA, Les Rencontres d’Arles

  4. Aix-en-Provence — Musée Granet, Atelier de Cézanne, Montagne Sainte-Victoire

  5. Marseille — Palais Longchamp, Musée des Beaux-Arts, Parc Borély, Château Borély

  6. Porquerolles — Fondation Carmignac

  7. Saint-Paul-de-Vence — Fondation Maeght

  8. Nice — Musée Matisse, Musée Marc Chagall, MAMAC

  9. Antibes — Musée Picasso

  10. Vallauris — Musée national Picasso La Guerre et la Paix, ceramics

  11. Biot — Musée national Fernand Léger

  12. Le Cannet — Musée Bonnard

  13. Menton — Jean Cocteau Museum


Montpellier

Musée Fabre

The Musée Fabre is one of the major fine arts museums in southern France. Its collections include European paintings and sculptures spanning several centuries, with important works from the Renaissance to modern art.

The museum is also known for its collection of works by Pierre Soulages, one of France’s most influential modern painters.

MO.CO.

The MO.CO. is a major contemporary art center presenting exhibitions by established and emerging artists.

La Panacée

The La Panacée is dedicated to contemporary art and creative practices, with exhibitions and multidisciplinary projects.


Sète

Musée Paul Valéry

The Musée Paul Valéry overlooks the Mediterranean and houses collections of fine art, sculpture, and regional heritage.

Named after the poet Paul Valéry, who was born in Sète, the museum reflects the city’s long connection to literature, painting, and Mediterranean culture.

Sète: An Artistic City

Sète is also associated with artists and writers such as Georges Brassens, and has a strong contemporary creative identity.


Arles

Fondation Vincent van Gogh Arles

The Fondation Vincent van Gogh Arles explores the legacy of Vincent van Gogh and presents exhibitions connecting his work with modern and contemporary artists.

LUMA Arles

The LUMA Arles is a major contemporary arts center known for its exhibitions, architecture, and multidisciplinary programming.

Les Rencontres d’Arles

Les Rencontres d'Arles is one of the world’s leading photography festivals, making Arles an important destination for photography and visual culture.


Aix-en-Provence

Musée Granet

The Musée Granet houses important collections of paintings, drawings, and sculptures, including works connected to Cézanne and other major artists.

Atelier de Cézanne

The Atelier de Cézanne preserves the studio where Paul Cézanne worked during the final years of his life.

Montagne Sainte-Victoire

The Montagne Sainte-Victoire is one of the most recognizable landscapes in art history, appearing repeatedly in Cézanne’s paintings.


Marseille

Palais Longchamp

The Palais Longchamp is one of Marseille’s great architectural landmarks. Built to celebrate the arrival of water from the Durance through the Canal de Marseille, it combines monumental architecture, sculpture, fountains, and landscaped gardens.

The palace houses two nice museums:

  • Musée des Beaux-Arts de Marseille — one of France’s oldest municipal fine arts museums, with paintings, sculptures, and drawings from the 16th to the 19th centuries.

  • Muséum d'Histoire Naturelle de Marseille — a natural history museum housed in the palace’s opposite wing.

Parc Borély

Parc Borély is one of Marseille’s most important historic parks, combining formal gardens, landscaped grounds, and cultural heritage.

At its heart is the Château Borély, an elegant 18th-century Provençal country residence that houses the Musée des Arts décoratifs, de la Faïence et de la Mode.

The museum’s collections include ceramics, furniture, glass, textiles, decorative objects, design, and fashion.

I used to recommend the Mucem, but I no longer do. I have serious concerns about the political messaging and exhibitions associate with the institution. If you must go, enjoy the views and architecture—but I would personally avoid the interior.


Porquerolles

Fondation Carmignac

The Fondation Carmignac is one of the most distinctive contemporary art destinations in the South of France.

Located on Île de Porquerolles, the foundation combines a contemporary art exhibition space with a remarkable sculpture garden.

The Villa houses approximately 2,000 square meters of exhibition galleries, while the surrounding 15-hectare gardens are home to sculptures integrated into the landscape.

The foundation brings together contemporary art, architecture, nature, and the Mediterranean environment in a unique setting.


Saint-Paul-de-Vence

Fondation Maeght

The Fondation Maeght is one of the most important modern and contemporary art foundations in France.

Its collection includes works by artists such as Giacometti, Calder, Braque, and Miró. The architecture, gardens, and sculptures are an integral part of the experience.

Saint-Paul-de-Vence

Saint-Paul-de-Vence is one of the most famous art villages in the South of France, with a long history of attracting artists, writers, and galleries.


Nice

Musée Matisse

The Musée Matisse in the Cimiez district explores the life and work of Henri Matisse through paintings, drawings, prints, and personal objects.

Musée national Marc Chagall

The Musée national Marc Chagall houses a major collection of Chagall’s work, including paintings, drawings, and the celebrated biblical message series.

MAMAC

The MAMAC is a major museum of modern and contemporary art, with works connected to movements such as Nouveau Réalisme and American Pop Art.


Antibes

Musée Picasso

The Musée Picasso is housed in the historic Château Grimaldi, overlooking the Mediterranean.

Picasso used the château as a studio in 1946, and the museum now presents works connected to his time in Antibes alongside pieces by other artists.

The museum is one of the most important Picasso sites in the South of France.


Vallauris

Musée national Picasso La Guerre et la Paix

The Musée national Picasso La Guerre et la Paix is housed in the former Romanesque chapel of the Château de Vallauris.

It is home to Picasso’s monumental War and Peace work, one of his most important political and symbolic creations.

Vallauris and Ceramics

Vallauris is closely associated with ceramics. Picasso’s experiments with pottery helped establish the town as an important center for ceramic art.


Biot

Musée national Fernand Léger

The Musée national Fernand Léger is dedicated to Fernand Léger, known for his bold forms, strong colors, and distinctive interpretation of modern life.

The museum’s architecture and surrounding Mediterranean vegetation are part of the experience.

Biot and Glassmaking

Biot is also famous for its glassmaking tradition, making it an important destination for decorative arts and craftsmanship.


Le Cannet

Musée Bonnard

The Musée Bonnard is dedicated to Pierre Bonnard and his connection to Le Cannet.

Bonnard spent significant periods in the town, and the museum offers insight into the colorful, intimate, and luminous qualities of his paintings.


Menton

Jean Cocteau Museum

The Jean Cocteau Museum – Séverin Wunderman Collection presents works connected to Jean Cocteau’s diverse career, including drawing, painting, ceramics, and other forms of visual expression.

Menton and Jean Cocteau

Menton is closely associated with Cocteau and remains one of the most distinctive cultural destinations near the Italian border.


Best art museums in the South of France · Art destinations in Provence · French Riviera art museums · Montpellier art museums · Picasso museums in the South of France · Fondation Carmignac Porquerolles · Art trip from Spain to Italy

The Misfits | Marilyn Monroe & Clark Gable Classic Drama | Full Movie

Roslyn (Marilyn Monroe), a recently divorced woman, forms an unlikely bond with a group of aging cowboys in the Nevada desert. As they struggle with loneliness, change, and a fading way of life, their journey reveals deep emotional truths about freedom, love, and identity. Set against the backdrop of the American West, The Misfits is a powerful and reflective story about people who don’t quite fit into the world around them.

Mahalal - The grandfather of my grandfather

January 14, 1811–April 12, 1899 he was 88 years old.

Avrom-Ber Gotlober: The Enlightenment Rebel Who Fought Hasidism With Poetry and Satire

Few figures in nineteenth-century Jewish culture embodied contradiction as vividly as Avrom-Ber Gotlober. He was a poet, teacher, satirist, and passionate advocate of the Jewish Enlightenment, yet he remained deeply tied to the traditional world from which he emerged. He despised Yiddish as an “unrefined” language while simultaneously producing some of its sharpest and most influential literary works. He championed modernization and secular education, but his life was marked by personal tragedy, exile, and ideological conflict.

By the end of his long life, Gotlober had become one of the defining voices of the Haskalah—the Jewish Enlightenment movement in Eastern Europe—and a central figure in the development of modern Yiddish literature.

A Childhood Rooted in Tradition

Gotlober was born in Starokonstantinov, in Volhynia, Ukraine, into a deeply religious family. His father, Khayim Gotlob, served as a cantor, and young Avrom-Ber initially seemed destined for a similar path. He studied in a traditional religious elementary school for a short time and later learned from private teachers under his father’s supervision.

Music played a major role in his early life. He sang beautifully and even considered becoming a cantor himself in a reformed synagogue. But his life would soon take a dramatically different course.

Like many Jewish boys of the era, Gotlober married very young—shortly after his bar mitzvah. His bride was only twelve years old and came from the town of Chernihiv. He moved into the home of his father-in-law, a fervent Hasid, who strongly influenced him. Under this influence, Gotlober became a Chabad Hasid and immersed himself in mystical studies, including Kabbalah.

The Turning Point: Enlightenment vs. Orthodoxy

Everything changed in 1827 when Tsar Nicholas I introduced harsh military conscription laws targeting Jewish youth. Fearing the decree, Gotlober and his father fled to Tarnopol in Galicia.

There he encountered Yosef Perl, one of the leading advocates of the Haskalah. Perl’s ideas transformed Gotlober’s worldview. The young mystic began embracing secular learning, rationalism, and modern Jewish thought.

When his father died, Gotlober returned to his father-in-law’s home. At first, family life seemed stable. His wife gave birth to a son, and he continued exploring Enlightenment ideas quietly. But tensions soon erupted.

The Hasidic community viewed his new beliefs as dangerous heresy. Together with his father-in-law, local Hasidim denounced him to their rebbe and pressured him into divorcing his wife and abandoning his child.

The emotional devastation permanently shaped Gotlober’s life.

Personal Tragedy and a Literary Mission

Hoping to rebuild his future, Gotlober considered studying abroad. Relatives arranged a second marriage for him, this time to the daughter of an early Zionist thinker. The union failed quickly.

Then came another crushing blow: his three-year-old son died.

The combined tragedies transformed Gotlober into a fierce ideological warrior. According to publisher and journalist Alexander Tsederbaum, Gotlober became a “fiery missionary of the Enlightenment ideal.”

From that point onward, he launched a relentless literary and intellectual attack on Hasidism, superstition, and social backwardness within Jewish society.

Wandering Scholar and Traveling Teacher

Throughout the 1830s, Gotlober wandered across Eastern Europe, living in cities such as Odessa, Kishinev, Dubno, and Dubosar. He survived by tutoring, teaching, and working as a resident scholar in private homes.

During these travels he encountered leading Enlightenment thinkers and immersed himself in European literature. He learned German, translated Friedrich Schiller into Hebrew and Yiddish, and composed humorous Yiddish songs that he performed himself.

In 1832 he met Yitskhok Ber Levinzon in Kremenets, another influential advocate of Jewish modernization. Levinzon deeply impressed him and further strengthened his commitment to the Haskalah.

Soon afterward, Gotlober married for a third time and settled in Dubno, where a circle of enlightened Jewish intellectuals gathered around him.

Discovering the Power of Yiddish

Although Gotlober often criticized Yiddish as lacking sophistication, he increasingly recognized its power as a language of the people.

He famously expressed this contradiction in two opposing statements. On one hand, he dismissed Yiddish as a “language without literature, grammar, or logic.” On the other hand, he acknowledged that Jewish society could only truly be helped “when one speaks to them in their language.”

That realization became central to his literary career.

Inspired by the writings of Mendl Lefin and later by playwright Shloyme Etinger, Gotlober began writing Yiddish poetry, satire, and drama.

In 1838 he completed his three-act comedy Der Dektukh, oder Tsvey Khupes in Eyn Nakht (“The Bridal Veil, or Two Weddings in One Night”). Though it circulated in manuscript form for decades before publication, the play became one of the earliest examples of modern Yiddish theater.

Teacher, Reformer, and Government Loyalist

By the 1840s, Gotlober had become an active public advocate for educational reform. He supported the controversial mission of Max Lilienthal, who worked with the Russian government to establish modern schools for Jewish children.

After qualifying as a teacher in 1851, Gotlober taught in Kamianets-Podilskyi, Starokonstantinov, and eventually at the rabbinical school in Zhitomir.

These years marked the high point of his career.

The Russian Haskalah was flourishing, and Gotlober emerged as one of its most important voices. Yet his politics remained complicated. Like many Enlightenment intellectuals of the era, he supported aspects of the Russian Empire’s assimilationist policies toward Jews.

At the same time, he fiercely criticized corruption, greed, and hypocrisy within Jewish communal life.

This tension—between reform and conservatism, rebellion and loyalty—ran through nearly all his work.

Satire as a Weapon

Gotlober’s greatest literary strength was satire.

Across poems, fables, and humorous narratives, he mocked fanaticism, wealthy communal elites, and social injustice. Among his best-known works were:

  • Dos Shtrayml Mitn Kapelyush (“The Hasidic Fur Hat and the Fancy Lady’s Hat”)

  • Der Seim oder di Groyse Asife in Vald (“The Sejm or the Great Assembly in the Forest”)

  • Der Binde Yisroelik

  • Dos Lid Funem Kugl (“The Song of the Pudding”), a parody inspired by Schiller’s “Song of the Bell”

  • Der Gilgl (“The Metamorphosis”), one of his most famous social satires

Many of these works circulated in manuscript form for decades before publication. Some were even lost before being rediscovered by Soviet Yiddish scholars in the late 1920s and early 1930s.

His writing mixed folk humor with sharp ideological critique, making him both entertaining and provocative.

A Changing World and a Changing Mind

The pogroms of the 1880s deeply shook Gotlober’s faith in Enlightenment ideals and Russian integration.

Where he had once supported Russification and government reform, he increasingly turned toward early Zionist ideas associated with Hibbat Zion. In later poems, he urged Jews to look toward Palestine and criticized his own earlier positions on assimilation.

This ideological shift reflected the broader crisis facing Jewish intellectuals across Eastern Europe after waves of anti-Jewish violence shattered hopes for equality within the Russian Empire.

Final Years and Legacy

In his later years, Gotlober lived with family in Bialystok. Though he eventually became blind, he continued writing and reflecting on Jewish literary culture.

One of his final major works, Zikhroynes vegn Yudishe Shrayber (“Memoirs of Jewish Writers”), remains an invaluable historical source on nineteenth-century Jewish intellectual life.

He died at the age of eighty-eight, leaving behind a remarkable and deeply conflicted legacy.

Today, Gotlober is remembered not only as a pioneering Yiddish writer but also as a symbol of the cultural upheaval that transformed Jewish life in Eastern Europe. His life captured the painful transition from tradition to modernity—a struggle fought not only in synagogues and schools, but also in poetry, satire, and the language of ordinary people.

MARSEILLES From JewishEncyclopedia.com By: Gotthard Deutsch, S. Kahn

Marseilles, a seaport in southern France, had approximately 5,000 Jews within a population of 420,300 in 1896. A Jewish colony existed there as early as the fifth century. In 567, exiles from Clermont, Auvergne, sought refuge in the city due to the intolerance of Bishop Avitus. In 591, Pope Gregory intervened on their behalf, reproaching Theodore, Bishop of Marseilles, for attempting to convert Jews by force rather than persuasion.

Benjamin of Tudela records in his Itinerary (i.6) that when he visited the city around 1165, the Jewish community numbered about 300 members and maintained two synagogues.

During the thirteenth century, the Jews of Marseilles engaged extensively in commerce and maintained important relations with the East. Although they were referred to as “citizens of Marseilles” (cives Massiliæ) in agreements made in 1219 and 1257, this status did not necessarily grant them equal rights with Christian citizens.

Conditions changed in 1262 after an insurrection against the Duke of Anjou, Count of Provence. Following the city’s capitulation, the Jews were surrendered to the count as taxable property. Nevertheless, the count later issued a severe edict in March 1276 against inquisitors who had compelled Jews to wear oversized identifying badges and extorted money from them through fines.

Disabilities

Although theoretically regarded as citizens, Jews were subject to numerous legal restrictions. After the age of seven, Jews were required to wear a colored disk on their clothing. Married Jewish women were obligated to wear special veils known as “orales,” under penalty of a fine of five sous.

As elsewhere in Provence, Jews in Marseilles were forbidden:

  • to testify against Christians when challenged,

  • to work on Sundays and Christian holy days,

  • to visit public baths more than once a week,

  • to travel to Alexandria,

  • or to embark in groups larger than four on the same ship.

Jewish passengers were also required to abstain from meat on days when Christian passengers fasted.

Toward the end of the thirteenth century, a Jewish resident near the episcopal palace organized Purim festivities that Christians interpreted as mocking their religion. The bishop imposed a heavy fine upon the entire Jewish community (Ibn Adret, Responsa, iii.389).

Fourteenth Century

The fourteenth century represented a comparatively favorable period for the Jews of Marseilles, who were placed under municipal protection. The municipal council resisted attempts to interpret statutes against them and opposed hostile clergy when necessary to preserve their legal protections.

Jews were permitted to engage in the same professions as Christians. Many worked as brokers, wine merchants, cloth merchants, or tailors. One individual is recorded as a magister lapidis (stone-cutter).

A Jew named Crescas Davin, called Sabonerius, is credited with introducing the soap industry in 1371. His son, Solomon Davin, later continued the trade.

Although commerce dominated community life, several Jews also practiced medicine.

Under Provençal Rule

No major accusations appear to have been directed against the community as a whole during this period.

In 1357, the Jews helped defend the city during a siege. In 1385, they contributed fifty florins toward a public loan required by the citizens of Marseilles.

In recognition of their loyalty, Queen Marie in 1387 and her son Louis II in 1389 confirmed the liberties, privileges, and immunities of the Jewish community.

In 1481, following complaints by two Jewish deputies, Solomon Botarelli and Baron de Castres, René ordered the closure of the baptistery of Saint-Martin after a Christian woman forcibly baptized a Jewish girl. He further ordered parishioners to baptize their children instead at the Church of St. Jacques de la Corrigerie.

Projects of Expulsion

In 1484, armed bands roaming the cities of Provence attacked and pillaged Jewish communities, including that of Marseilles.

The following year, residents of the city accused the Jews of usury and other alleged crimes, leading to massacres and demands that King Charles VIII expel the remaining Jews from Provence.

Approximately eight years later, a royal decree banishing Jews from Marseilles was issued. The expulsion was not fully completed until around 1501.

During the seventeenth and eighteenth centuries, some Jews gradually returned to Marseilles.

Since 1808, Marseilles has served as the seat of a consistory overseeing Jewish communities throughout southern France.

Ghetto

The Jewish quarter, centered around the street known as “Carreria Jusatarie” or “Carreria Judæorum,” formed a distinct district referred to as “Insula Juzatarie.”

When King Alphonso V of Aragon captured the city in 1423, the Jews suffered heavily, and many fled Marseilles.

Synagogues and Cemeteries

During the Middle Ages, the Jewish community maintained two synagogues:

  • the “Scola Major,”

  • and the “Scola Minor.”

The modern synagogue referenced in the article was built in 1865.

The medieval Jewish cemetery was located on Mont-Juif (Montjusieu). After the expulsion of the Jews, King Charles VIII granted the site to a citizen of Marseilles.

As of 1904, the Jewish community maintained two cemeteries:

  • one near Place Castellane (later closed),

  • and another in the Quartier de St. Pierre.

The community hospital stood near the large synagogue, while two almshouses operated under the supervision of appointed rectors.

Scholars

In the second half of the twelfth century, Marseilles became an important center of Jewish scholarship. Benjamin of Tudela described it as “the city of geonim and sages.”

In 1194, Maimonides addressed his famous letter on astrology to the scholars of Marseilles.

Among more modern rabbis associated with the community were Jonas Weyl (d. 1903) and his successor, Honel Meiss.

Editorial Note

This text originates from the early twentieth-century Jewish Encyclopedia and reflects the historical terminology and editorial conventions of its period.