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Twin Serpents


“Twin Serpents”, unique bronze 98”x69”x34” 2019 from the series “Stories From My Ancestors”



A few months after Charlottesville's cultural clashes and riots, in August of 2018, my father in law passed away. The funeral was held at a Church on Long Island, NY. After family and friends gave their heart-felt goodbyes the Pastor gave sermon sighting stories from the old and new testaments. From the Old Testament he told the story of Nehushtan, where in their exodus from Egypt, the Jews started losing their faith.  Yahweh, angered by the doubters, sent a plague of poisonous serpents to bite and kill the unbelievers. When Moses interceded, Yahweh instructed him to build a “Bronze” serpent, hold it aloft on his staff and decreed that all those who look upon the serpent, Nehushtan, would be healed from the poisonous bites. In the second part of his sermon the Pastor told the story of the “Unclean Jew” ,from the New Testament, where an “impure” Jew went to Jesus to find salvation. I later learned that the Pastor knew I was a bronze sculptor and a Jew, I can safely say the only one in attendance. I've wondered for years why, when we were at a funeral to honor and say goodbye to a patriarch of our family, would a sermon turn to an “unclean Jew”?  Was it for my salvation or was it a damnation? Shortly after "Charlottesville" I couldn’t help but feel the latter. 


The events at Charlottesville gave new meaning to a sculpture I made in 1991 “Kristallnacht : A Sleep of Reason”. The sculpture was built as a memorial to the shocking events in 1938 when the Nazi government sanctioned the looting and destruction of Jewish homes and businesses.  

"Twin Serpents", An Inversal Faith.




“Kristallnacht : A Sleep of Reason” In the collection of the Pennsylvania Academy of the Fine Arts Museum



6 Attachments  


The History of Our Future


 Seven generations connect.


A few years ago, I proudly introduced my grandson to his great-great-great great-grandfather Levi Spiegelberg, depicted on a monument in the Santa Fe rail yard (Levi is 2nd from the right seated with his hand tucked into his jacket) The monument shares a brief history of the Spiegelberg accomplishments in the early frontier town of Santa Fe.


 As a child, I was captivated by my mother's stories of the young Levi Spiegelberg who, in 1848 at the age of 17, traveled from Prussia to join his brother Solomon in Santa Fe, NM.  They started the extremely successful Spiegelberg Brothers mercantile company. The New Mexican territory offered the Spiegelbergs opportunities that were unavailable to Jews in their German homeland. Four other brothers joined the business in the following years.


In 1852, Levi had gone to Independence Missouri to lead 25 ox drawn wagons loaded with merchandise, back to New Mexico. Somewhere along the Santa Fe Trail, Levi fell deathly ill.  Thinking he might have cholera, the teamsters left him to die in a small sod hut by the side of the trail.

Jean-Baptiste Lamy, the future archbishop of Santa Fe, was in a wagon train behind Levi’s. From his vantage point, Lamy could see the stalled wagons and a fallen man being carried into a hut. Lamy, who was returning to Santa Fe with a group of nuns from the Sisters of Loretto, stopped to assist. Recognizing that Levi did not have cholera, Lamy loaded Levi onto his wagon, where the clergy nursed Levi back to health.


They traveled on to New Mexico where they laid the spiritual, educational and economic foundations of modern Santa Fe. Lamy forged the religious and spiritual center of his new home with the construction of the St. Francis Cathedral. On the keystone above the cathedral entrance is carved a Tetragrammaton with the inscription of Yahweh in Hebrew. It is believed that Lamy was honoring his friendship with the Spiegelberg family as well as all the Jewish merchants and immigrants living in thier frontier town


The Loretto nuns went on to build the Loretto chapel, with the "Miraculous Staircase", for the girl’s academy they founded. 



 The Spiegelberg Brothers Company Store

Levi Spiegelberg and brothers went on to build thier financial and mercantile empire on the Santa Fe Plaza. The Spiegelbergs built one of the first iron front, brick, block, tiles and lots of glass amongst the traditional adobe structures made of mud and straw.


Coming even further full circle, Levi bought the land along San Francisco Street, on the Santa Fe Plaza from Archbishop Lamy, as the property had formerly been part of a Spanish military chapel La Castrense, Our Lady of Light. The "Spiegelberg Bros."building still stands today but unfortunately it was "adobified" in the 1960's and the facade was stuccoed over to make it look like an adobe. In the late 1860’s Levi and his wife Bette and their family, that eventually became twelve children, moved to Brooklyn, NY where Levi became the east coast supplier for "The House of Spiegelberg Bros."


253d6bfb-3fb6-45c7-ac21-62a9b0d56e82.jpgJean Baptist Lamy  

330b4274-6e57-4b6b-8261-fe6afe590249.jpgLevi Spiegelberg


 Today, Santa Fe is a fusion of cultures and a celebration of the arts. It’s an extremely creative, vital and progressive community. Sadly, we are not immune to the recent stirrings of hatred in our devolving humanity, spurred on by our political leaders. I share my ancestor’s stories to humanize the Spiegelberg Brothers recently defaced monument. Its destruction is personally painful to see as these remarkable lives are degraded. The rising anti Semitism and racial hatred are signs of a sick society.


Perhaps the cure can be found in the moment of compassion that changed my family’s life, when the future archbishop of Santa Fe saved the life of a Jewish merchant along the Santa Fe Trail. That compassion has lasted generations and is partly why I’m here today. In fact, compassion might be the reason many of us are here.


History helps us understand the future; the options are clear. We will either devolve into hatred or evolve with compassion. Either path will affect us for generations. When humanity is under attack, we are all falling. As it is written in the Talmud: “Whoever saves one life saves the world entire.”



The monument vandalized 

 I moved to Santa Fe in 2015 and set to work building a sculpture to commemorate a moment of compassion. The future archbishop of Santa Fe saved the life of a Jewish merchant along the Santa Fe Trail.  The two-part sculpture "Signs of Life" consists of "In His Eye" when Jean Baptist Lamy saw a "Falling Man", Levi Spiegelberg. The sculpture is now complete and is currently on display till May 2020 at the Santa Fe Botanical Garden as part of the exhibition "HUMAN NATURE". My eight sculptures are part of a series titled "Stories From My Ancestors" are exhibited along with the sculptures of the late Alan Houser and David Pearson.


 "Signs of Life" with "Falling Man" and "In His Eye" currently at the Santa Fe Botanical Garden, will be available for exhibition after May 2020.


Jonathan Hertzel

Great-great-grandson of Levi Spiegelberg


The Tetragrammaton that Arch Bishop Lamy had carved on the keystone above the door on the St Francis Cathedral in Santa Fe, NM., bears a resemblance to the one on a candle stick found in Lamy's home town cathedral in Clermont-Ferrand, France.




In St Louis at the Basilica of St Louis, King of France, a Tetragrammaton was carved above the church entrance in 1834. Lamy must have seen this Tetragrammaton on his numerous journeys through St Louis.


Stories From My Ancestors

The Sculpture Of Jonathan Hertzel


Aline Brandauer




“Bronze has been used to express human nature throughout time.” - Jonathan Hertzel


Jonathan Hertzel is a classically trained sculptor who calls himself a sculptural historian. Educated at the Pennsylvania Academy of The Fine Arts and the University of Rochester, with more than thirty years of experience under his belt, he can hold his own with more traditional artists who work in bronze. But he has a slightly different intention, one for which his history can provide hints. The artist feels that figurative sculpture changes in order to best represent the times in which it is created.


My one-of-a-kind bronze sculptures (says the artist) are inspired by an unfurling of elemental forces; earth, air, water, fire, coalescing into the underlying expression of the human form. The sculptures are rooted in motion, transition and passage, and are visually multi-directional. The bronzes are ideally suited for multiple interactions. The far and near views offer differing perspectives. Upon each passage, the changing views culminate into an evolving figurative landscape.1


Like many artists before him, his current work combines particular stories, formal considerations, and political undercurrents that bubble to the surface.


l.  We think of bronze as an ancient material, classical and heavy, a material that implies solidity, permanence and description.  Hertzel, however, uses bronze in order to show us the traces of bodies that have moved through these spaces, the energetic leavings of experience.  Classical Greek sculpture aimed for idealized representation, the human form embodying the divine, deity made flesh. The Italian Renaissance restored that idea and further humanized the form. By the late nineteenth century, artists like Rodin allowed the marks of the artist’s hand and tools to remain in the work, increasing the sense of the felt presence of the sculpture, the sense that we, along with the sculptor, know the subject. This is the impression not just of a woman’s flank or a man bent with weight, but a particular woman’s flank, a knowledge of what that man’s burdens might be.


Rodin's Snake



While Hertzel is fascinated with other techniques of making and casting bronze, he consistently produces by lost-wax casting. Hertzel models the pieces in wax, manipulating it by hand, then pieces them together. This handwork reinforces the idea of felt sculpture that remains visible in bronze; that the touch remains. While this textural specificity is important to Hertzel’s project, the depiction of motion in sculpture is critical. Among those artists who made the invisible visible around the turn of the twentieth century, Umberto Boccioni showed the three-dimensional human figure as it marched through space. While 1913’s Unique Forms of Continuity in Space displays a sense of movement, its solidity belies time passing.





                                     Boccioni’s Unique Forms of Continuity in Space


Perhaps Hertzel’s greatest sculptural influence is Alberto Giacometti. The twentieth-century Swiss sculptor began to re-examine the human figure in 1935, expecting it to be a quick departure from what he had been doing. Instead, it became the foundation for his work from that point on. Giacometti proceeded to eviscerate the figure, eventually describing his work as sculpting not the figure but rather “the shadow that it cast.”*





 In Hertzel’s new work, he continues to make the figure using that classical material, bronze, to depict the energetic traces of movement and presence that have passed. Why, he seems to be asking, should what lingers be ineffable when it can be hand-molded wax turned into bronze, as if peering back into that “shadow.” 



Hertzel spent 1973 through 1977 studying history at the University of Rochester where he also engaged with both film and modern dance at a critical juncture of post-modernism. Much post-modernist dance of the era addresses everyday movement and the energy with which the body is involved: what emanates from it — what is left in the wake of the movement itself.     


“Dance is an art in space and time,” says Merce Cunningham, “The object of the dancer is to obliterate that.”2               


Cunningham also focused on chance. Chance can shift a moment, change a system, necessitate different choices in one’s reactions.

As a practitioner of Tai Chi, Hertzel describes the flow of movement originating “deep within the core through the mantle of the earth spiraling up through your soul and soles” into the body, much like bronze itself. Metal is a material that can be transformed from state to state, from solid to liquid and back to solid. In Reversal a figure stands (almost) in contrapposto but the energy of the piece is tracked rather than depicted by the bronze. The torsion and the tension make the figure seem ready to spring but the openness of the composition makes it unclear in which direction it will move. Reversal speaks to that feeling between fight and flight, paralysis and panic, where one doesn’t know which way to turn much less what is really going on around us. The figure of Reversal, like many of us in this shifting America with its stirring up of hatred, feels powerless as he digs deep into his soul for strength and direction.

Adam Splitting refers at once to Adam, the first man, splitting like a cell rather than being split through a missing rib, and to violence throughout the Middle East, particularly suicide bombers. According to Hertzel,

Adam Splitting was made during the time of my mother’s death and the loss of the multi-generational family home while simultaneously there was an invasion of Iraq. My garden exploded to the backdrop of the war.



Adam Splitting: Unique bronze. 2008, 31”x61”x29”


 Like the paradox of the stillness in motion, war-torn Iraq was a cradle of civilization, whose vast cultural reserves have been destroyed along with its citizens. The family dynamic split in similar ways; the loss of parent and home forced a reckoning. Adam Splitting has more positive space (metal) than many of the artist’s current pieces but retains a fierce centrifugal motion and power. The figure spins away from a center, losing force and parts as it moves. Adam Splitting embodies pain, displacement, and body parts, out of control and in the process of being lost forever.